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foxmusic — Mon, 23 Feb 2009 06:05:48 MST

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Arthur Lyman "Yellow Bird" Life Records Bachlor Pad

foxmusic — Sun, 25 Jan 2009 15:18:37 MST

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foxmusic — Fri, 16 Jan 2009 08:16:46 MST

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foxmusic — Fri, 16 Jan 2009 08:15:35 MST

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stained glass header 2

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foxmusic — Fri, 16 Jan 2009 08:11:29 MST

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foxmusic — Fri, 16 Jan 2009 08:09:24 MST

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foxmusic — Fri, 16 Jan 2009 07:09:13 MST

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foxmusic — Fri, 16 Jan 2009 07:03:36 MST

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foxmusic — Fri, 16 Jan 2009 07:01:12 MST

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foxmusic — Wed, 31 Dec 2008 07:23:04 MST

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foxmusic — Thu, 9 Oct 2008 07:31:36 MDT

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Malleus Maleficarum

foxmusic — Thu, 2 Oct 2008 07:31:38 MDT

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foxmusic — Thu, 2 Oct 2008 07:31:33 MDT

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the Monkeys Paw

foxmusic — Thu, 2 Oct 2008 07:31:24 MDT

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Dokken "Dream Warriors" Nightmare on Elm Street 3 Electra Records Vinyl lp -

foxmusic — Thu, 2 Oct 2008 07:31:19 MDT

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"Scary Spooky Stories"- Halloween Vinyl lp

foxmusic — Thu, 2 Oct 2008 07:31:15 MDT

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Monster Mash "Sounds of Terror"- Halloween Vinyl lp Back

foxmusic — Thu, 2 Oct 2008 07:31:10 MDT

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Monster Mash "Sounds of Terror"- Halloween Vinyl lp

foxmusic — Thu, 2 Oct 2008 07:31:05 MDT

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"Legend of Sleepy Hollow"- Halloween Vinyl lp

foxmusic — Thu, 2 Oct 2008 07:30:59 MDT

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"The Lost Boys" Atlantic Records Soundtrack Vinyl lp Halloween

foxmusic — Thu, 2 Oct 2008 07:30:55 MDT

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"Famous Ghost Stories"Flying Dutchman Records - Vinyl (back)

foxmusic — Thu, 2 Oct 2008 07:30:50 MDT

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Alfred Hitchcock "Ghost Stories for Young People" Vinyl

foxmusic — Thu, 2 Oct 2008 07:30:43 MDT

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Freddy's Greates Hits "Nightmare on Elm Street" Ric Records Vinyl lp - back

foxmusic — Thu, 2 Oct 2008 07:30:38 MDT

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Freddy's Greates Hits "Nightmare on Elm Street" Ric Records Insert: Order Sheet

foxmusic — Thu, 2 Oct 2008 07:30:33 MDT

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#2 Sleeve Halloween Party Tips Vinyl lp

foxmusic — Thu, 2 Oct 2008 07:30:29 MDT

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#1 "The Haunted House" Dust Sleeve Halloween Party Tips Vinyl lp

foxmusic — Thu, 2 Oct 2008 07:30:23 MDT

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Boris Karlof "Legend of Sleepy Hollow" "Rip Van Winkle" Halloween Vinyl lp

foxmusic — Thu, 2 Oct 2008 07:30:17 MDT

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"Famous Ghost Stories" Flying Dutchman Records Vinyl Record

foxmusic — Thu, 2 Oct 2008 07:30:11 MDT

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Freddy's Greates Hits "Nightmare on Elm Street" Ric Records Vinyl lp

foxmusic — Thu, 2 Oct 2008 07:30:06 MDT

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"The Haunted House" Chilling Thrilling Sounds Of - Disneyland Records Vinyl lp

foxmusic — Thu, 2 Oct 2008 07:30:02 MDT

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Monstres Sesame Street Vinyl LP

foxmusic — Thu, 2 Oct 2008 07:29:57 MDT

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Fox Music Company: Audio Rarities Vinyl Record Art Blue Banner

foxmusic — Sun, 28 Sep 2008 09:20:57 MDT

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Fox Music Company: Audio Rarities Blue Banner with Records

foxmusic — Sun, 28 Sep 2008 09:01:05 MDT

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foxmusic — Sat, 20 Sep 2008 06:51:44 MDT

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foxmusic — Sat, 20 Sep 2008 06:11:30 MDT

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foxmusic — Mon, 15 Sep 2008 20:35:38 MDT

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foxmusic — Mon, 15 Sep 2008 20:33:22 MDT

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foxmusic — Mon, 15 Sep 2008 20:31:54 MDT

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Fox Music Company Blue Banner Logo Art

foxmusic — Mon, 15 Sep 2008 20:30:30 MDT

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foxmusic — Mon, 15 Sep 2008 20:28:04 MDT

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foxmusic — Mon, 15 Sep 2008 20:24:20 MDT

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foxmusic — Mon, 15 Sep 2008 16:27:10 MDT

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foxmusic — Mon, 15 Sep 2008 16:24:08 MDT

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foxmusic — Mon, 15 Sep 2008 16:24:07 MDT

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foxmusic — Mon, 15 Sep 2008 16:01:32 MDT

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foxmusic — Mon, 15 Sep 2008 15:32:58 MDT

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Andy Warhol - 1966 Jacqueline Kennedy II - Artist Proof - # XI

foxmusic — Mon, 15 Sep 2008 08:35:19 MDT

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Andy Warhol - 1966 Jacqueline Kennedy II - Artist Proof - # XI - Warhol_Portrait_Jackie_Kennedy_II.jpg

Andy Warhol - 1966 Jacqueline Kennedy II - Artist Proof - # XI Edition: 200, 50 AP numbered in Roman numerals, rubber stamp signed and numbered in pencil on verso. - Published in the Portfolio Eleven Pop Artists II - Printer KMF, Inc New York - Publisher: Original Editions, New York - Screenprint, 24" x 30" - Framed, 24 1/4 x 30 1/4 Artist in the Eleven Pop Artists II portfolio, D'Arcangelo, Jones, Laing, Lichtenstein, Phillips, Ramos, Rosenquist, Warhol, Wesley, Wesseimann. Heritage Auction Galleries Andy Warhol Jacqueline Kennedy II

100 Polyethylene Sleeves 3-mils for 12" Vinyl Record Albums - Record Collection Protection

foxmusic — Sun, 14 Sep 2008 08:35:14 MDT

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100 Polyethylene Sleeves 3-mils for 12" Vinyl Record Albums - Record Collection Protection - Vinyl_Record_Collection_Protection.jpg

Vinyl Record Collection Protection Store your collectible phonograph records in our polyethylene sleeves and protect them from dust, dirt, finger oils, and other airborne pollutants. Our poly sleeves hold size and thickness tolerances and have passed the "Photo Activity Test" certifying that they are safe for long-term storage. When you store your vinyl record albums in poly sleeves you keep the record and cover free from dust, dirt, finger oils and other air borne pollutants, all of which cause paper to breakdown and grooves to fill up. Our polyethylene bags are made from High Clarity, Recyclable 100% Pure Virgin Polyethylene material which is used worldwide in museums, archival institutions, and libraries as one of the preferred storage and display materials. Our polyethylene sleeves are stable, inert, and do not leach. The record sleeves also have microscopic breathing pores, which do not allow moisture to be trapped inside the sleeve. Aside from its structural superiority, it is also less expensive than most other plastic storage and display materials.

Factory Work: Warhol, Wyeth and Basquiat

foxmusic — Sat, 13 Sep 2008 18:46:28 MDT

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Factory Work: Warhol, Wyeth and Basquiat - Factorywork.jpg

"Factory Work: Warhol, Wyeth and Basquiat" Factory Work: Warhol, Wyeth and Basquiat (Paperback) by Joyce Stoner (Author) Book Description Factory Work examines Andy Warhol's (1928-1987) role as a mentor for two younger artists from opposite corners of the art world. Jamie Wyeth (b. 1946) and Jean-Michel Basquiat (1960-1988) were young, independent artists with their own substantial reputations when Andy Warhol invited each of them to paint in his "Factory" on 860 Broadway, New York City. In 1976 Andy Warhol and Jamie Wyeth painted each other's portraits. They jointly attended openings from 1976 to 1980; the exhibitions were known informally as "The Patriarch of Pop Paints the Prince of Realism," and Warhol visited Wyeth's farm in Pennsylvania. Basquiat rented a studio on Great Jones Street from Warhol beginning in August 1983 and collaborated with Warhol (first as part of a trio including Francesco Clemente) later the same year and in 1984 began joint projects with Warhol alone and exhibited in 1985. Warhol influenced these younger artists, and they enabled him to stay connected to new audiences of an evolving art world. At the same time, Warhol's paintings demonstrably changed due to his contact with Wyeth and Basquiat. The works illustrated provide clues toward further investigation of these two unique partnerships, also documented in Warhol's published diary entries, Interview magazines, and Warhol's tape-recorded conversations. There are four catalogue essays: Robert Rosenblum, Professor of Fine Arts at New York University and internationally known curator of 20th-century art at the Guggenheim Museum, examines Warhol as mentor for Jamie Wyeth, "a card-carrying member of a Yankee dynasty of three generations of ultra-WASP artists," as well as for Basquiat, the "dark-skinned crazy kid from Brooklyn who began his meteoric career by raucously embracing a counter-cultural life"; Christine Daulton, consultant conservator for the Warhol Museum, describes and provides recreations of the unusual techniques used by Warhol to create his oxidation portraits in the 1970s and 1980s; Joyce Hill Stoner, conservator, art historian, and Director of the University of Delaware Preservation Studies Program, writes about Wyeth's influence on Warhol that can be seen in Warhol's 1976 cat and dog paintings, his 1979 pig photographs and print, and his 1976-1977 skull paintings and self-portraits with skull; Margaret Rose Vendryes of the City University of New York discusses Basquiat's work and his "tagging" of Warhol's commercial images on their collaborative paintings and collages. The text and illustrations also offer insights into the celebrity-obsessed culture of the '70s and the drug- and money-mad art market of the '80s.

Andy Warhol "Superman" Screenprint -- Pop Art

foxmusic — Sat, 13 Sep 2008 18:46:26 MDT

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"Andy Warhol Screen Tests: The Films of Andy Warhol Catalogue Raisonne, Volume One"

foxmusic — Sat, 13 Sep 2008 18:46:25 MDT

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"Andy Warhol Screen Tests: The Films of Andy Warhol Catalogue Raisonne, Volume One" - FilmsofAndyWarholCatalogueRaisonne.jpg

"Andy Warhol Screen Tests: The Films of Andy Warhol Catalogue Raisonne, Volume One" by Author Callie Angell publisher - Harry N. Abrams, Inc. In 1963, Warhol began making short, silent films of the people who came through his New York studio, accumulating personalities in the same way he collected Campbell's soup cans or Brillo boxes. The first in a two-volume catalogue (which will eventually encompass all of Warhol's cinema), this book offers some surprisingly engrossing entries, while serving as a basic reference guide to the films. In addition to supplying the expected cataloguing data (dates, running time, cast, credits and other notations), the capsule biographies of the subjects and film action narratives reveal the fascinating and creative world of the Factory. Here is the tragic Freddy Herko, who "danced out the window of John Dodd's fifth-floor apartment"; models Ivy Nicholson and Imu; poets John Ashbery and Ted Berrigan; and musicians Lou Reed and Bob Dylan. Equally interesting are blurbs about the unknowns: "A young man named Stevie, with an illegible last name. Near the end of the roll, someone throws water on his face from offscreen." Several essays speculate about Warhol's overarching intentions for the films and discuss their mysteriously limited showings. Extravagantly produced with 780 photographs, the book reinforces the sense of Warhol as an expert in subverting notions of celebrity.

Andy Warhol: Red Books - Hardcover Box Set

foxmusic — Sat, 13 Sep 2008 18:46:23 MDT

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"Andy Warhol: Red Books" Andy Warhol: Red Books Hardcover Box Set by Andy Warhol (Author), Francois-Marie Banier (Photographer) Book Description The Polaroid camera combined two of Andy Warhol's obsessions--the disposable nature of modern consumerism and the photograph as ready-made. An inveterate and relentless user of Polaroid cameras, he made tens of thousands of instant photographs during the 1970s. Many of these were made over a short time span and focused on one individual or subject, sometimes a formal sitting for a portrait, an informal event with friends, or a party at The Factory. Between 1970 and 1976, Warhol established a rigorous system of cataloguing. He would take home the Polaroids, edit and sequence them, and then enter them in individual red Holson Polaroid albums. These albums, with Warhol's original sequence and themes, have remained intact. Red Books is a red wooden box containing 11 of Warhol's Holson Polaroid albums. Each book contains a facsimile reproduction of Warhol's sequence. The themes include a study of Paloma Picasso, a day trip to Montauk, Mick Jagger, the "Asshole" painting, and John and Yoko. In addition to the 11 red books, a black book is included which contains a text by Fran ois-Marie Banier explaining the significance of these albums within Warhol's oeuvre and how they act as a visual diary of his work, offering unrivaled insight into his creative process.

Andy Warhol "Flowers" Screenprint -- Pop Art

foxmusic — Sat, 13 Sep 2008 18:46:21 MDT

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Andy Warhol "Flowers" Screenprint -- Pop Art - WarholBookAndyWarhol.jpg

"Andy Warhol" by Andy Warhol (editor), Pontus Hulten (editor), Kasper Konig (editor), Olle Granath (editor) Famed and prized among Andy Warhol aficionados, the Swedish Moderna Museet's massive catalogue for the artist's 1968 solo exhibition was one of the great accomplishments of art publishing. In The Photobook: A History, Vol. II, Martin Parr and Gerry Badger describe it as "a quintessential photobook, cornucopias of photographic imagery in which found photographs, snapshots, photographs by Warhol's associates, photographic reproductions of his 'paintings' (themselves silk-screened photographs) and other kinds of imagery are collaged to talk about one basic subject--the gargantuan ego and artistic talent of Andy Warhol... It is an exhibition catalogue that transcends any limitations that might be suggested by this genre." The text for the Moderna Museet catalogue is also significant: instead of essays, the editors let the artist speak for himself, in a series of quotations published in English and Swedish. Here, Warhol's most famous aphorism first saw print: "In the future everybody will be world famous for fifteen minutes." Most of the images in this book derive from a photo album donated by Warhol to the Moderna Museet that contains several hundred black-and-white photos from his life in the second half of the 1960s. Many were taken by the photographers Billy Name and Stephen Shore, who both got their first assignments through their photographs of artists, rock stars, models, actors and others in the circles around Warhol at the Factory. Other featured photographers in the book include Rudy Burckhardt, Eric Pollitzer and John D. Schiff. For Moderna Museet's fiftieth anniversary in 2008, and its exhibition Andy Warhol: Other Voices, Other Rooms (created in collaboration with the Stedelijk Museum in Amsterdam), Steidl adds to the celebrations by reprinting a new edition of this classic book.

Andy Warhol "Marlyn Monroe" Screenprint -- Pop Art

foxmusic — Sat, 13 Sep 2008 18:46:18 MDT

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Andy Warhol "Disney Mickey Mouse" Screenprint -- Pop Art

foxmusic — Sat, 13 Sep 2008 18:46:16 MDT

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Andy Warhol "Three Coke Bottles" Screenprint -- Pop Art

foxmusic — Sat, 13 Sep 2008 18:46:14 MDT

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Andy Warhol "Three Coke Bottles" Screenprint -- Pop Art - AndyWarhol3CokeBottles.jpg

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foxmusic — Sat, 13 Sep 2008 18:46:12 MDT

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Andy Warhol "Dollar Signs" Screenprint -- Pop Art

foxmusic — Sat, 13 Sep 2008 18:46:10 MDT

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Andy Warhol "Disney Donald Duck" Screenprint -- Pop Art

foxmusic — Sat, 13 Sep 2008 18:46:08 MDT

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Andy Warhol "Self Portrait Yellow" Screenprint -- Pop Art

foxmusic — Sat, 13 Sep 2008 18:46:07 MDT

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Andy Warhol "Self Portrait Yellow" Screenprint -- Pop Art - AndyWarholSelfPortrait1986yellow.jpg

Andy Warhol "James Dean" Screenprint -- Pop Art

foxmusic — Sat, 13 Sep 2008 18:46:05 MDT

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Andy Warhol's Interview - Seven Volume Hardcover Set

foxmusic — Sat, 13 Sep 2008 18:46:03 MDT

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"Andy Warhol's Interview" Andy Warhol's Interview - Hardcover 7 Volume Set by Bruce Weber (Author), Elton John (Author), Jeff Koons (Author), Andy Warhol(Author), Sandy Brant (Editor), Ingrid Sischy (Editor) From Publishers Weekly Starred Review. Andy Warhol's Interview magazine celebrates its 35th anniversary with this spectacular seven-volume retrospective of its first decade. It's a massive, definitive reference that cuts a wide swath through '70s pop culture with vibrant and energetic interviews and photos. It also has the visceral impact of an objet d'art, the books are housed in a Karl Lagerfeld designed crate with wheels and a retractable handle. The selected interviews and photos from the first decade have not been reset or resized; each 12"×15" volume offers exact reprints of the magazine's original pages, including spelling errors and original ads. Each volume is a treasure trove of sparkling, uninhibited and entertaining chats with icons on the rise Bette Midler, Jack Nicholson, Lily Tomlin, underground favorites John Waters, Holly Woodlawn, Mary Woronov, living legends Bette Davis, Butterfly McQueen, Gloria Swanson and those who defined the '70s Rona Barrett, Halston, Calvin Klein. The Covers which runs 160 pages reproduces every cover from Interview's first decade in full color. The Pictures (276 pages) features photo shoots by Robert Mapplethorpe, Herb Ritts, Bruce Weber, Francesco Scavullo and others. The Interviews (348 pages) offers 123 profiles, including ones of Muhammad Ali, the Andrews Sisters, Gore Vidal, the Talking Heads and Tennessee Williams. The Andy Warhol Interviews (320 pages) are 77 interviews conducted by Warhol, with such personalities as John Lennon and Yoko Ono, Sophia Loren, and Michael Jackson. The Fashion (172 pages) chats with designers like Versace, Edith Head and Yves Saint Laurent. The Directors (148 pages) includes portraits of 45 directors ranging from Cukor, Hitchcock and Capra to the younger generation of Wertmuller, Spielberg and Altman. The final volume is The Back of the Book, a slim (64 pages) collection of Fran Lebowitz's "I Cover the Waterfront" columns. What makes Interview's conversations unique is their free-for-all spirit. Warhol brought friends to interviews and taped the marathon session. Transcripts include interruptions for ordering food and drop-by celebrity appearances. Sometimes even the interviewers shine: a star-struck Angelica Huston interviews Mae West; 12-year-old Tatum O'Neal visits Seventh Avenue designers; and Anthony Perkins meets his future wife, Berry Berenson, when she interviews him. The vastness of this undertaking is matched by the pleasures found on every page. Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. Book Description The October 2004 edition of Interview magazine will mark 35 years of the award winning journal founded by pop art pioneer Andy Warhol. In that time it has developed from the newsletter of the Studio 54 set into the definitive guide to the most significant stars of today and tomorrow. Adopting an original format the magazine uses recordings of questions and answer sessions to reveal information about celebrities, politicians, filmmakers, musicians and literary figures. The questions are often put by another celebrity and the answers are revealing, intimate and candid. Alongside the interviews are photographs by the crAme de la crAme of celebrity and fashion photography - Robert Mapplethorpe, Francesco Scavullo, Herb Ritts, Ara Gallant, Peter Beard, Bruce Weber, Perry Berenson and others - who are given the opportunity to make some of their most challenging and original work. For 35 years Interview has offered an original perspective on the sexy, fascinating and funny people who are shaping popular culture. This collection of 7 books presents the first catalogue of the first decade of that extraordinary history and like the rare, early issues of the magazine is bound to become a valuable collector's item.

ndy Warhol "Campbell's Soup Box Paintings"

foxmusic — Sat, 13 Sep 2008 18:46:01 MDT

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ndy Warhol "Campbell's Soup Box Paintings" - AndyWarholCampbellsSoupCans.jpg

"Campbell's Soup Boxes" Campbell's Soup Boxes Hardcover by Itzhak Goldberg (Author), Andy Warhol (Author) Book Description Pracitcally everyone recognizes the Campbell's Tomato Soup Can images by Andy Warhol that have come to define American Pop Art. Less well known, but equally intriguing, is another part of Warhol's Campbell's oeuvre: the Campbell's soup boxes, which he made during the mid-1980s using paint, silkscreen, and drawing to render these boxes in his inimitable style. Warhol, whose fascination with advertising and consumerism was born of his early career as a commercial artist, took as his inspiration the endlessly replicated images of modern branding, and thus helped to create and define the major art movement of recent decades. This volume, with an essay tracing Warhol's history with Campbell's, reproduces more than 60 of Warhol's Campbell's Soup Box pieces, and as such, adds to the growing documentation of this towering presence in 20th-century art.

"Andy Warhol Prints" Pop Art Book

foxmusic — Sat, 13 Sep 2008 18:45:58 MDT

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"Andy Warhol Prints" Pop Art Book - AndyWarholCatalogueRaisonne1962-198.jpg

"Andy Warhol Prints: A Catalogue Raisonné 1962-1987" by - Authors Authur Danto and Donna De Salvo Publisher - D.A.P/Ronald Feldman Fine Arts/Andy Warhol Foundation for the Visual Arts; 4 Rev Exp edition A Catalogue Raisonné 1962-1987 traces Warhol's complete graphic oeuvre the first unique works on paper in 1962 through his final published portfolio in 1987. More than 1,100 works are illustrated, and complete documentation is provided for each. Among these are 650 unique edition prints, trial proof edition prints, and unpublished prints that Warhol created for personal projects and on commission, all works that were not included in the earlier editions of this catalogue. The illustrations and technical data are complemented by two essays that explore Warhol's graphic production from different perspectives. "More than any other artist of his generation," writes Donna De Salvo, "Andy Warhol understood how the reproduced image had come to reflect and shape contemporary life.... Coca-Cola bottles, race riots in Birmingham, Alabama, and the empty desolation of the death chamber (electric chair] are like a catalogue of contemporary hieroglyphs scattered across the American landscape" De Salvo presents an overview of Warhol's printmaking activities, tracing and analyzing the "subtle variations and permutations that Warhol was able to achieve through his expanded notion of the printing process.... With nearly scientific fervor, he dissected the very mechanics of image production and, through this unexpected commonplace vehicle, discovered a way to be original." Arthur C. Danto's essay places Warhol's work within the context of its time. "Warhol had the tremendous gift of understanding which were the defining myths of a generation.... His political gift was his ability to make objective as art the defining images of the American consciousness-the images that expressed our desires, our fears, and what we ... trusted and mistrusted."

Andy Warhol Screenprint "" Pop Art

foxmusic — Sat, 13 Sep 2008 18:45:56 MDT

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Andy Warhol Screenprint "" Pop Art - AndyWarholDeboraH.jpg

"Andy Warhol Portraits" by Tony Shafrazi, Carter Ratcliffe, Robert Rosenblum Publisher - Phaidon Press First Book to Feature over 300 of Warhol's Famous Faces "I think everybody is my friend." Andy Warhol To the general public, Andy Warhol is known as a painter of legendary icons, from Marilyn and Jackie to his own ever-changing self-portrait. Less known are the portraits he made of socialites, art dealers, collectors, politicians, fashion designers and a variety of contemporary cult figures, mostly commissioned work that helped finance Warhol's many other artistic activities. Never before has there been a book that provides a comprehensive overview of all of Warhol's famous faces. "Andy Warhol Portraits" by Tony Shafrazi, is the first book to provide acomplete overview of Warhol's many celebrity portraits, from the famous to the infamous. It features over 300 glamorous portraits including manyworks largely unknown even by avid fans. "Andy Warhol Portraits" grew out of an exhibition that was organized by the Tony Shafrazi Gallery, New York in 2005. Shafrazi paid homage to a seminal display of Warhol's portraits that took place at the Whitney Museum of American Art in 1979-80. The Whitney exhibition presented for the first time a large array of the commissioned portraits that the artist began in the early 1970s as a way to offset the cost of multiplying activities at the Factory. Shafrazi's exhibition included many portraits from the original Whitney exhibition as well as others. "Andy Warhol Portraits" takes Shafrazi's exhibition even further, nearly doubling the number of works shown. On the 20th anniversary of Warhol's death in 1987, there has never been a better time to reflect on Warhol's life and influence on pop culture today. According to a recent interview with Charlotte Abbot from Publishers Weekly, "It's a good moment for Andy Warhol. Culturally, he is still on top. "Art historians and critics have long neglected this body of Warhol's work, preferring to discuss and study the more iconic Marilyns or Campbell Soup Cans of the 1960's. "Andy Warhol Portraits" includes, in addition to famous portraits of Marlon Brando, Liz Taylor and Dennis Hopper, lesser-known images of actors Bill Murray and Meryl Streep, fellow artists Donald Juddand, Cy Twombly and royal family members such as Princess Diana and Princess Caroline. It also features a number of musicians, including Prince and Dolly Parton, and fashion icons including Diane von Furstenberg and Giorgio Armani. The book begins with an introduction by Tony Shafrazi, and features essays by established art historians/critics Carter Ratcliff and Robert Rosenblum, who lend insight into one of the least fully known but nevertheless prolific aspects of Warhol's endlessly fascinating career. The book makes the perfect gift for any pop culture fan.

Andy Warhol Screenprint "Campbell's Soup Can" Pop Art

foxmusic — Sat, 13 Sep 2008 18:45:54 MDT

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Andy Warhol Screenprint "Campbell's Soup Can" Pop Art - AndyWarhol1968CampbellsSoup.jpg

the Beatles "Rubber Soul" Parlophone Records PMC 1267

foxmusic — Sat, 13 Sep 2008 06:46:11 MDT

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the Beatles "Rubber Soul" Parlophone Records PMC 1267 - Beatles_Rubber_Soul_Gramaphone_R-1.jpg

the Beatles "Please Please Me" Parlophone Records

foxmusic — Sat, 13 Sep 2008 06:46:08 MDT

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the Beatles "Please Please Me" Parlophone Records - __Beatles-Up-Close.jpg

the Beatles "Please Please Me" Parlophone Records 1980's Issue "2 Mark" PCS 3042

foxmusic — Sat, 13 Sep 2008 06:46:06 MDT

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the Beatles "Please Please Me" Parlophone Records 1980's Issue "2 Mark" PCS 3042 - __Beatles-Please-Please-Me_Silve-1.jpg

The earliest variety of the 1970's label (up through 1973) is nicknamed the "one mark" label because only one EMI logo appears on the label; later copies have two. Three albums are known to have been reissued in MONO on the ONE MARK label. These sell for $275 each in Near Mint condition. Stereo copies are reasonably common, selling for $25 each. From 1973 to 1976, the rim print on the "two mark" label has "The Gramophone Co. Ltd," but in 1976, the rim print changed to mention "EMI" as the manufacturer. After 1979, the rim print changed to begin with an "all rights" statement.

the Beatles "Please Please Me" Parlophone Records 1980's Issue "1 Mark" PCS 3042

foxmusic — Sat, 13 Sep 2008 06:46:04 MDT

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the Beatles "Please Please Me" Parlophone Records 1980's Issue "1 Mark" PCS 3042 - __Beatles-Please-Please-Me_Silver-B.jpg

FOX MUSIC COMPANY: Audio Rarities - Gift of Music - Logo Art Postcard Advertising

foxmusic — Fri, 12 Sep 2008 08:00:55 MDT

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FOX MUSIC COMPANY: Audio Rarities - Gift of Music - Logo Art Postcard Advertising - Fox_Music_Vinyl_Record_Store_Watert.jpg

Fox Music Company, is a Indie Record Store Nestled in the Heart of Historic Watertown Wisconsin. Vinyl; Phonograph Records; Long Plays; LPs; Albums; EPs; Wax Stacks or Stacks of Wax, 7's 10's or 12's; 45 rpm; 33 1/3 rpm; 78 rpm or maybe...., for you its Digital? Compact Disc, CD's, DVD's. Which Ever Your Favorite Term or Format, Fox Music Company has a Large Inventory of Records & CDs, New & Used. Fox Music Company, is located Downtown Watertown on the corner of Main Street and First Street. The record store is in the historic "Merchants National Bank Building" Our entrance is on First Street at the top of the wheel chair ramp. The City of Watertown is located in the South Eastern portion of Wisconsin and is centered where the counties of Dodge and Jefferson meet. The North side of Watertown sits in Dodge County, the South side in Jefferson County. In the East-West direction we are midway between Madison and Milwaukee, Wisconsin.

The Beatles "Please Please Me" Parlophone Records PMC 1202 Mono - Vinyl Record Album - UK Yellow Parlophone

foxmusic — Mon, 8 Sep 2008 18:30:50 MDT

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The Beatles "Please Please Me" Parlophone Records PMC 1202 Mono - Vinyl Record Album - UK Yellow Parlophone - Beatles-Please-Please-Me--Yellow_Pa.jpg

The typical Parlophone record label from the 1960's has a black label with "Parlophone" in yellow. This basic label style lasted on all Parlophone issues until 1969, when it was replaced by a black label with silver print. However, there were three different variations of the 1960's "Yellow Parlophone Label", which make it possible to give a more accurate date to your Parlophone album. Copies of the "Please Please Me" Vinyl LP pressed immediately after the switch to the yellow and black label can be found with "33 1/3 rpm" instead of "Recording first published 1963" on the label. These copies now sell for about triple the price of "normal" copies. After these copies, there exist transition copies which does not have either print. These sell for 50% more than standard copies.

Beatles "Rubber Soul" Parlophone Records PMC 1267 - The Gramophone Co. Ltd

foxmusic — Mon, 8 Sep 2008 18:07:03 MDT

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Beatles "Rubber Soul" Parlophone Records PMC 1267 - The Gramophone Co. Ltd - Beatles_Rubber_Soul_Gramaphone_Rim.jpg

From 1965 until 1969, all Parlophone LP's were released with labels having "The Gramophone Co. Ltd." in the rim print and the "Sold in U.K." message across the center of the label. There is also a transitional issue of Beatles LP's from 1969 with a black and yellow label but no "Sold in UK"message. The black and yellow Parlophone label appeared briefly on reissues during the early 1980's. This reissue label has EMI mentioned in the printing on the rim of the label and has the word MONO on the label.

Beatles "Please Please Me" German Parlophone Import

foxmusic — Mon, 8 Sep 2008 16:43:58 MDT

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Beatles "Please Please Me" German Parlophone Import - Please-Please-Me-Import-Vinyl-LP-Be.jpg

Beginning in 1965, Parlophone began to press and distribute to other countries copies of LP's that were not available in that form in England. These included Parlophone pressings of several US Capitol albums, also a Parlophone issue of The Beatles (for countries that had not accepted the Apple label yet), and a Parlophone-covered issue of Let It Be. The series prefix "CPCS" was used for US-based albums, with the leading "C" standing for "Capitol." For the other export LP's, a leading "P" for "Parlophone" was used, along with the usual British catalog number. Labels for the export series resembled their UK counterpart

Beatles "With The Beatles" Parlophone Records Stereo PCS 3045

foxmusic — Mon, 8 Sep 2008 16:22:13 MDT

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Beatles "With The Beatles" Parlophone Records Stereo PCS 3045 - Beatles_With_The_Beatles_Parlophone.gif

Beatles "Revolver"

foxmusic — Mon, 8 Sep 2008 16:00:54 MDT

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Beatles "Revolver" - Beatles_Revolver_Klaus_Voorman_Cove.jpg

Klaus Voormann, an old friend from Hamburg, who recently had moved to London, was asked to design the cover. After hearing some tracks, he decided that the cover should reflect the same avant-garde feel. "I wanted to push the design further than normal," he told Martin O'Gorman in 2006. "I did a scribble piece on a big A2 layout sheet of paper, with lots of different sketches of the little heads, in felt pen. I didn't do the big representation. I just went to see them with that piece of paper folded up in my pocket and that was enough!" He than made the line-drawing of the four faces. "I drew the faces from memory," continues Voormann in Mojo. "George's face was very difficult to draw. It was easier with John, Paul and Ringo, but George was always the problem. I could not get his face right, so eventually I took a newspaper and cut those eyes and mouth out." According to Pete Shotton the cover was finished in Lennon's home, in Kenwood: "John, Paul, and I devoted an evening to sifting through an enormous pile of newspapers and magazines for pictures of the Beatles after which we cut out the faces and glued them all together. Our handiwork was later superimposed onto (the) line drawing by Klaus Voormann." "The photo of Ringo with the funny striped shirt on," remembers Voormann, "that was cut out of a magazine, from a picture of a girl who had that poster on her wall. That's why the picture is at a funny angle. I had a few strange ones where John was pulling a face, or Paul was laughing, but in general, the photos show their sweet side." "There was one picture where Paul was sitting on a toilet. I think that photo was taken in Hamburg." Klaus recalled the presentation of the finished artifact. "I went to the EMI house, up to George Martin's office and I stood the artwork up on a filing cabinet. There was Brian Epstein, George Martin, his secretary and the four lads. I was scared, because nobody said anything. They were just looking at it. I thought, ****, they hate it. The Paul looked closer and said, "Hey that's me sitting on a toilet!" George Martin took a look and said, "You can't show that!" Paul said, "No, it's great!" But then he gave it some thought and said, "Well, maybe we should take that one off.." So that broke the ice. Then they started talking about it. Everybody loved it, George loved it, John loved it, Ringo loved it. I looked at Brian, who was standing in the corner and he was crying… I thought, Oh no… what is he doing? He came up to me and said, "Klaus, this is exactly what we needed. I was worried that this whole thing might not work, but I know now that this the cover. This LP, will work – thank you."" There's a small drawing of Klaus himself, on the right side, between John and George's heads.

Idetify Your Parlophone Record - Matrix

foxmusic — Mon, 8 Sep 2008 13:19:35 MDT

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Idetify Your Parlophone Record - Matrix - parlophone_records_matrix_image.gif

Decoding the UK EMI matrix: At 6 o clock is the matrix number with a dash number. In this case it is XEX 638-1 Dash 1 indicates the 1st lacquer made. -2 would be the second, etc. At 9 o clock is the mother number. In this case it is Mother # 8 At 3 o clock is the stamper code. The code works like this: GRAMOPHLTD 1234567890 The letter above is code for the corresponding number below. Example: the stamper code is "MDP" in the record below. This corresponds to the numbers M = 4. D = 0. P = 6. Stamper is #406 Example above: side 2 was made by the 1st lacquer, the 8th mother and pressed by the 406th stamper. Perhaps the record company could anticipate total sales volume and, up front, they might produce all the needed lacquers, mothers and stampers. Or perhaps at a later date, the record company would need to produce additional lacquers and mothers in order to meet customer demand for the product. In the case of The Beatles, millions of LPs were typically sold within the early weeks of production and, during the years after that, millions more were produced as 2nd, 3rd and later pressings.

Beatles "Please Please Me" Parlophone Records - Mono PMC 1202 Gold Print Black Label

foxmusic — Mon, 8 Sep 2008 13:19:33 MDT

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Beatles "Please Please Me" Parlophone Records - Mono PMC 1202 Gold Print Black Label - beatles-please-please-me-mono-pmc12.jpg

When the Beatles released their first LP "Please Please Me" on Parlophone Records, the label styles were in transition. The original record label was a "black label with gold print", which created a legendary Beatles collectible......the "Gold Label, Please Please Me" which can be found with any of three label variations. The first credits the Beatles original songs to "Dick James Music" (as pictured here). The second credits those songs to "Northern Songs". Finally, the two variants can be found mismatched, with side one having different credits than side two. The album cover accompanying a gold label copy should have the front cover credits shifted all the way to the right (to the cover's edge); later covers have the front cover credit moved slightly to the left.

Beatles "Please Please Me" Parlophone Records - Stereo PCS 3042 Gold Print Black Label

foxmusic — Mon, 8 Sep 2008 13:19:29 MDT

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Beatles "Please Please Me" Parlophone Records - Stereo PCS 3042 Gold Print Black Label - beatles-please-please-me-mono-pcs30.jpg

Beatles "Beatles For Sale" Parlophone Records PMC1240

foxmusic — Mon, 8 Sep 2008 11:44:18 MDT

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Beatles "Beatles For Sale" Parlophone Records PMC1240 - Parlophone_Yellow_Label_Beatles.jpg

The typical Parlophone label from the 1960's has a black label with "PARLOPHONE" in yellow. This basic label style lasted on all Parlophone issues until 1969, when it was replaced by a black label with silver print. However, there were three different variations of the 60's parlophone label, which make it possible to give a more accurate date to your Parlophone album. Copies of the Please Please Me LP pressed immediately after the switch to the yellow and black label can be found with "33 1/3 RPM" instead of "Recording first published 1963" on the label. These copies now sell for about triple the price of "normal" copies. After these copies, there exist transition copies which do not have either print. These sell for 50% more than standard copies. In 1964, legalities forced Parlophone to add a "resale statement" to their records. All Parlophone LP's produced between 1964 and late 1965 will have The Parlophone Co. Ltd. in the rim print and will have the Sold in UK message across the middle of the label. From 1965 until 1969, all Parlophone LP's were released with labels having The Gramophone Co. Ltd. in the rim print and the Sold in UK message across the center of the label. There is a transitional issue of Beatles LP's from 1969 with a black and yellow label but no "Sold in UK" message. Beginning in 1965, Parlophone began to press and distribute to other countries copies of LP's that were not available in that form in England. These included Parlophone pressings of several US Capitol albums, also a Parlophone issue of The Beatles (for countries that had not accepted the Apple label yet), and a Parlophone-covered issue of Let It Be. The series prefix "CPCS" was used for US-based albums, with the leading "C" standing for "Capitol." For the other export LP's, a leading "P" for "Parlophone" was used, along with the usual British catalog number. Labels for the export series resembled their UK counterpart

Beatles "Please Please Me" Parlophone Records "Gold Label" PMC 1202

foxmusic — Mon, 8 Sep 2008 11:32:18 MDT

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Beatles "Please Please Me" Parlophone Records "Gold Label" PMC 1202 - Parlophone_Gold_Label_Beatles.jpg

When the Beatles released their first LP "Please Please Me" on Parlophone Records, the label styles were in transition. The original record label was a "black label with gold print", which has become legendary Beatles Collectible. The "gold label" "Please Please Me" can be found with any of three label variations. The first credits the Beatles original tunes to "Dick James Music". The second credits those songs to "Northern Songs". Finally, the two variants can be found mismatched, with side one having different credits than side two. The album cover accompanying a gold label copy should have the front cover credits shifted all the way to the right (to the cover's edge); later covers have the front cover credit moved slightly to the left.

Columbia Phonograph Records Shipping Crate w/ "Magic Notes" Logo - Upright Grafonola

foxmusic — Mon, 8 Sep 2008 10:24:44 MDT

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Columbia Phonograph Records Shipping Crate w/ "Magic Notes" Logo - Upright Grafonola - Grafonola_Advertisng_Crate_006.jpg

a "Columbia Records Grafonola Upright Phonograph Packing Crate" Complete with the Columbia Famous "Magic Notes" Logo, Hand Written Customers Address, Purchased from Gimbel Bros. Milwaukee WI with a COD amount due of 57.50 A Grafonola was an internal horn phonograph made by the Columbia Phonograph Company that played 78rpm records. A Graphophone was a phonograph made by the Columbia Phonograph Company, Graphophones played both cylinder and 78rpm records. The Grafonola, was introduced in 1907, around a year after Victor introduced the first Victrola. There are the early Grafonolas such as the Symphony Upright and Symphony Grand, which resembled a Chinese pagoda and a small, upright piano, respectively. There was a series of expensive Grafonola art case or period machines, in the styles of Hepplewhite, Sheraton, Adam and others. There was the Viva-Tonal, Columbia's equivalent to the Orthophonic Credenza, the apex of the development of acoustic reproduction. According to many collectors the Viva-Tonal surpassed the Victor Orthophonic in acoustic fidelity. There was a series of Grafonolas in which the Grafonola was disguised as an article of household furniture, such as a desk or an end-table.

Columbia Records Upright Grafonola Shipping Crate with Magic Notes Logo

foxmusic — Mon, 8 Sep 2008 10:13:05 MDT

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Columbia Records Upright Grafonola Shipping Crate with Magic Notes Logo - Grafonola_Advertising_Crate.jpg

A Grafonola was an internal horn phonograph made by the Columbia Phonograph Company that played 78rpm records. A Graphophone was a phonograph made by the Columbia Phonograph Company, Graphophones played both cylinder and 78rpm records. The Grafonola, was introduced in 1907, around a year after Victor introduced the first Victrola. There are the early Grafonolas such as the Symphony Upright and Symphony Grand, which resembled a Chinese pagoda and a small, upright piano, respectively. There was a series of expensive Grafonola art case or period machines, in the styles of Hepplewhite, Sheraton, Adam and others. There was the Viva-Tonal, Columbia's equivalent to the Orthophonic Credenza, the apex of the development of acoustic reproduction. According to many collectors the Viva-Tonal surpassed the Victor Orthophonic in acoustic fidelity. There was a series of Grafonolas in which the Grafonola was disguised as an article of household furniture, such as a desk or an end-table.

Indie Record Store Image - Fox Music Company - Audio Rarities -Vinyl Record LPs

foxmusic — Sat, 6 Sep 2008 07:20:31 MDT

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Indie Record Store Image - Fox Music Company - Audio Rarities -Vinyl Record LPs - Vinyl_Record_LPs_Indie_Store_Fox_Mu.jpg

Arch Door way spills into the main body of the record store as you exit the "Jazz Room" Fox Music Company, is a Indie Record Store Nestled in the Heart of Historic Watertown Wisconsin. Vinyl; Phonograph Records; Long Plays; LPs; Albums; EPs; Wax Stacks or Stacks of Wax, 7's 10's or 12's; 45 rpm; 33 1/3 rpm; 78 rpm or maybe...., for you its Digital? Compact Disc, CD's, DVD's. Which Ever Your Favorite Term or Format, Fox Music Company has a Large Inventory of Records & CDs, New & Used. Fox Music Company, is located Downtown Watertown on the corner of Main Street and First Street. The record store is in the historic "Merchants National Bank Building" Our entrance is on First Street at the top of the wheel chair ramp. The City of Watertown is located in the South Eastern portion of Wisconsin and is centered where the counties of Dodge and Jefferson meet. The North side of Watertown sits in Dodge County, the South side in Jefferson County. In the East-West direction we are midway between Madison and Milwaukee, Wisconsin.

Fox Music Company - Audio Rarities - Indie Record Store Watertown Wisconsin

foxmusic — Sat, 6 Sep 2008 06:33:28 MDT

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Fox Music Company - Audio Rarities - Indie Record Store Watertown Wisconsin - Fox_Music_Company_Entry_Indie_Recor.jpg

Kilroy Was Here

foxmusic — Wed, 3 Sep 2008 07:44:05 MDT

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Kilroy Was Here - Kilroy_Was_Here.jpg

Lenny Bruce San Francisco Trial

foxmusic — Wed, 3 Sep 2008 07:17:00 MDT

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Lenny Bruce San Francisco Trial - Lenny_Bruce_Trial_San_Francisco_196.jpg

When once asked to describe jazz, trumpet legend Miles Davis sarcastically but saliently replied, "You can sweat it down to four words: Louis Armstrong and Charlie Parker." Applying that same old-school, new-school trailblazer to comedy is somewhat more problematic. A number of great early comics could stand in for the Armstrong entry, among them Charlie Chaplin, Groucho Marx, Jack Benny, and George Burns. But in choosing the "Charlie Parker of comedy," by that meaning the one who blazed the modern-day trail, influencing all that came after him, the answer is simple and irrefutable: Lenny Bruce. He was the genre's reckless visionary, the one who defied conventions, the law, and the system, and -- like most visionaries -- was taken down by it all in the end. Bruce changed the whole ball game: no longer would comics have to come out in a cute little suit and tell cute little mother-in-law jokes or feel like they were "working dirty" if they talked openly about sex and other taboo subjects. The shoot-from-the-hip and tell-the-truth work of Richard Pryor, George Carlin, Richard Lewis, and myriad other modern-day comics could never have existed without Bruce first storming the citadel and tearing down the conventional walls of comedy presentation back in the 1950s. He was the original rebel in this marvelous amalgam he invented, taking his borscht belt and strip-joint background and spot welding it to a hipster enlightenment. His style took previously taboo subjects and not only dumped them all in the audience's lap, but did it with a creative verve that made him the wildest, the hippest, the most controversial, and simply the best comic trotting the boards. Those lucky enough to have caught Bruce on an inspired night said it was like a roller coaster ride inside a person's head, free-association ramblings streaming out in a virtual torrent of ideas. Jumping from '50s jazz hipster slang to a liberal dosage of Yiddish vernacular that sounded like code to the uninitiated to sometimes impish little-boy charm letting you in on a big, dark secret, no comic created intimacy with an audience in almost any environment -- conclusively proven in his amazing performance at Carnegie Hall -- than Lenny Bruce. Although he rode in on the crest of that late-'50s wave known as the "sick comics," Bruce distanced himself from the pack -- both in ideas, outlook, and demeanor -- quickly proving that he had much more to offer philosophically than some tasteless one-liners whose comedic value was usually based on shock value alone. Not that in the early days Bruce wasn't above drawing on items in the news to pull a "quickie sickie" observation to get a fast laugh, but the simple fact that Bruce quickly outgrew the medium that launched him was already apparent by the live recorded performances he was laying down that were appearing on albums by 1959 and 1960. While Mort Sahl (the most popular and digestible of the new comics) would take aim at political sacred cows, Bruce came from a hipster's background and -- fueled by endless nights of honing his craft in California strip joints, where the audience couldn't have cared less what he said or did -- was out to violate the night club taboos by dealing with sex, race, and religion, using words that had seldom been uttered on cabaret stages up to that point. Bruce was a brilliant satirist and the object of his early pieces was quite often show business itself, clearly a signal that he was more than willing to bite the hand that was feeding him. Exposing the seediness, pomposity, and insensitivity that existed then -- as now -- in show business via brilliant routines like "The Palladium," "Hitler and the M.C.A.," "The Tribunal," and "Religions, Inc.," it was obvious that Bruce was going places that no comic had dared to go in front of an audience. Exposing racism and bigotry in routines like "White Collar Drunks," "How to Relax Your Colored Friends at Parties," and his brilliant satire of the movie "The Defiant Ones" was another bold step, paving the way for message comedians like Dick Gregory (and later, Richard Pryor) to find their voice and audience. His work went through three basic phases of development, starting with the bits and routines that lampooned show business conventions and often caused audiences to walk out. Tiring of the sheer drudgery of regurgitating the same material on a nightly basis, Bruce entered his second phase, abandoning all format on-stage, free-forming his entire performance. His final phase at the end of his career was slow-moving, obsessive shows centered around the contradictions in the American legal system. As Bruce kept testing the boundaries of what could be talked about on a stage, other comics heard his basic message and rethought their entire game plan. In effect, he invented modern-day comedy as we know it. The concept of a comedy concert back then was unthinkable. Up to that time, comics worked in clubs (bars, saloons, and strip joints) or as part of a stage show. Putting a comedian in a theater all by their lonesome for an entire evening seemed like a crazy idea until Bruce's work justified such a gamble, now a presentation format common to any comedian popular enough to fill a large building. But with the trailblazing came the heat. The police busted him at the Jazz Workshop in 1961 for violating the California Obscenity Code. As Paul Krassner said, "Lenny fought for the right to say on a nightclub stage what he felt free to say in his own living room." Bruce's drug use was widely known throughout the business, and after his acquittal on obscenity charges, he was deported from Britain, barred from performing in Australia, busted for either narcotics possession or obscenity in Los Angeles, Chicago, Hollywood, New York, and San Francisco. In 1964 he had himself declared a legally bankrupt pauper, virtually unable to work anywhere (hence the move into "concerts"). By this time, the lone benefactor keeping him afloat was rock & roll producer Phil Spector, who was the last person to record him for public consumption. In August 1966, with his career and finances in tatters, Bruce died of a heroin overdose at age 40. His life story became a movie starring Dustin Hoffman. And his visionary work changed the world of comedy forever.

Iggy Pop "Muleskinner" Tropo Records - Vinyl LP

foxmusic — Tue, 2 Sep 2008 06:59:06 MDT

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Iggy Pop "Muleskinner" Tropo Records - Vinyl LP - PUNK-LpIggyPopMuleSkinner.jpg

Uforia - Vinyl LP

foxmusic — Tue, 2 Sep 2008 06:59:01 MDT

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Uforia - Vinyl LP - PROG-UforiaLP.jpg

Debris "Static Disposal" Opcl Records Vinyl LP

foxmusic — Tue, 2 Sep 2008 06:58:56 MDT

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Debris "Static Disposal" Opcl Records Vinyl LP - PROG-DebrisLP.jpg

Here is Debris' "Static Disposal" LP released on Opcl Records in 1976. This is wild, demented proto-punk rock might just be the first ever punk LP (the Ramone s/t LP was recorded a few months after and it sounds like bubblegum music compared to this). This legendary group from Chickasha, Oklahoma formed in 1975 and self-released their lone LP in 1976. A Dada/punk/psych masterpiece recorded in just under seven hours in Dec. 75, the LP and the individuals who created it have long been the subject of a great deal of mystery and conjecture due to their elusiveness, the mindblowing quality of the music as well as the provocative negative image bondage LP sleeve design. This is definitely recommended and what you see here is the original release. The town of Chickasha, OK, might seem an unlikely birthplace of a seminal experimental proto-art-punk band set on pushing the boundaries of rock. In the face of indifference, and even redneck hostility, and lasting only a year, Debris' forged a small legacy with its D.I.Y. ethic and improvised playing style. Charles Ivey and Oliver Powers played various instruments in various bands for several years before the summer of 1975, when they approached drummer Johnny Gregg for a new band. Debris' was quickly launched and by September, they had the first of the four live gigs of their short existence. Their chaotic performance style and dark, quirky sound — influenced by the Velvet Underground, the Stooges, Captain Beefheart, as well as English glam rock — did not endear them to their Oklahoma City-area audiences. At one such show, a Battle of the Bands competition where 50 bands vied for a new sound system, Debris' came in dead last while a cover band took home the prize. At the same time, they took advantage of a 1,590-dollar promotional package from a sound studio, which provided ten hours of recording time and a 1,000 LP pressing. With the lofty ambition to "cut the ultimate record of the decade," they recorded material in two sessions in mid-December and the record was pressed several months later (since released on CD as Static Disposal with much bonus material). The band started to mail it out to various record labels and rock magazines as a demo in hopes of getting a record deal and to more fully realize their project. With early negative reviews and no local support, Debris' disbanded, ahead of their time and in the wrong place. Within a year, more favorable press appeared and CBGB even offered them a gig and a chance to cash in on the burgeoning New York punk scene, but it was already too late.

Cain "Flesh" Vinyl LP

foxmusic — Tue, 2 Sep 2008 06:58:53 MDT

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Cain "Flesh" Vinyl LP - PROG-CainLP.jpg

Black Cat Bones "Barbed Wire Sandwich" 1970 Progessive Blues Rock - Vinyl Record LP

foxmusic — Tue, 2 Sep 2008 06:58:49 MDT

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Black Cat Bones "Barbed Wire Sandwich" 1970 Progessive Blues Rock - Vinyl Record LP - PROG-BlackCatBonesLP.jpg

The Black Cat Bones was a blues-rock group from London founded in the late '60s by Paul Kossoff (guitar), Stuart Brooks (bass), and Simon Kirke (drums). Kossoff and Kirke left to form Free, and Brooks recruited Brian Short (vocals), Derek Brooks (guitar), Rod Price (guitar, vocals), and Phil Lenoir. This unit cut The Black Cat Bones' only album, Barbed Wire Sandwich, in 1970.

Daevid Allen & Euterpe "Good Morning" Virgin Records UK Import Vinyl LP - Progressive Rock "Prog"

foxmusic — Mon, 1 Sep 2008 07:21:07 MDT

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Daevid Allen & Euterpe "Good Morning" Virgin Records UK Import Vinyl LP - Progressive Rock "Prog" - Prog-DaevidAllenLPgoodMorning.jpg

Daevid Allen's flights of fancy and cheerful hippie proselytizing have given birth to projects as diverse as the progressive rock of Gong as well as naturalistic solo works such as Good Morning. This record was recorded in 1976, six years after Allen's last solo outing, Banana Moon. It differs markedly from that record, as well as his group work with Gong. Good Morning is more acoustic, with no drums, and was recorded on a four-track tape machine at Allen's Majorcan home, "Bananamoon Observatory." As with Gong, Allen plays his cosmic-effected "glissando" guitar, and he calls on girlfriend Gilli Smyth for her signature "space whisper." Additionally, he employs an unknown Spanish group called Euterpe. The songs here merge together well and have a childlike wonder, punctuated by Allen's singsong delivery and some peaceful synth. Side one is the quiet, poetic side, whereas side two comes closest to Gong, with the moody 11-minute "Wise Man in Your Heart." Where previously Allen leaned on the compositional skills of Smyth, Christian Tritsch, and others, all of the songs on this record were written by Allen. The word that best describes his songwriting would be relaxed. Allen doesn't strive for profundity, and in so doing creates a work filled with humility and charm. Daevid Allen was one of the founders of the British progressive rock band the Soft Machine in 1966. After recording just one album with the group, he became the founder/leader of Gong, which he left in 1973 to begin a solo career (though his first solo album, Banana Moon, was released in 1971 while he was still in the group). Allen explored his quirky, folky take on rock throughout the '70s and '80s on albums like 1976's Good Morning and 1983's Alien in New York. His solo work also included collaborations with underground rock impresario Kramer like 1993's Who's Afraid? and 1996's Hit Men, which was released on Kramer's Shimmy Disc label. Allen returned in 1999 with Money Doesn't Make It, followed a year later by Stroking the Tail of the Bird. Nectans Glen also followed in 2000. In 2003 Allen formed a new version of Gong with members of the Japanese collective known as Acid Mothers Temple, as well as playing and releasing material with his California-based band University of Errors. He continues to release numerous live sets and one-off collaborations in limited editions on various independent labels under his own and various group names.

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Pink Floyd "A Saucer Full of Secrets" Tower Records 5131 - Striped Label - 1968 Progressive Rock Vinyl LP

foxmusic — Mon, 1 Sep 2008 07:20:50 MDT

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Pink Floyd "A Saucer Full of Secrets" Tower Records 5131 - Striped Label - 1968 Progressive Rock Vinyl LP - PROG-PinkFloydLPSaucerFullofSecrets.jpg

A transitional album on which the band moved from Syd Barrett's relatively concise and vivid songs to spacy, ethereal material with lengthy instrumental passages. Barrett's influence is still felt (he actually did manage to contribute one track, the jovial "Jugband Blues"), and much of the material retains a gentle, fairy-tale ambience. "Remember a Day" and "See Saw" are highlights; on "Set the Controls for the Heart of the Sun," "Let There Be More Light," and the lengthy instrumental title track, the band begin to map out the dark and repetitive pulses that would characterize their next few records. Pink Floyd is the premier space rock band. Since the mid-'60s, their music relentlessly tinkered with electronics and all manner of special effects to push pop formats to their outer limits. At the same time they wrestled with lyrical themes and concepts of such massive scale that their music has taken on almost classical, operatic quality, in both sound and words. Despite their astral image, the group was brought down to earth in the 1980s by decidedly mundane power struggles over leadership and, ultimately, ownership of the band's very name. After that time, they were little more than a dinosaur act, capable of filling stadiums and topping the charts, but offering little more than a spectacular recreation of their most successful formulas. Their latter-day staleness cannot disguise the fact that, for the first decade or so of their existence, they were one of the most innovative groups around, in concert and (especially) in the studio. While Pink Floyd are mostly known for their grandiose concept albums of the 1970s, they started as a very different sort of psychedelic band. Soon after they first began playing together in the mid-'60s, they fell firmly under the leadership of lead guitarist Syd Barrett, the gifted genius who would write and sing most of their early material. The Cambridge native shared the stage with Roger Waters (bass), Rick Wright (keyboards), and Nick Mason (drums). The name Pink Floyd, seemingly so far-out, was actually derived from the first names of two ancient bluesmen (Pink Anderson and Floyd Council). And at first, Pink Floyd were much more conventional than the act into which they would evolve, concentrating on the rock and R&B material that were so common to the repertoires of mid-'60s British bands. Pink Floyd quickly began to experiment, however, stretching out songs with wild instrumental freak-out passages incorporating feedback; electronic screeches; and unusual, eerie sounds created by loud amplification, reverb, and such tricks as sliding ball bearings up and down guitar strings. In 1966, they began to pick up a following in the London underground; on-stage, they began to incorporate light shows to add to the psychedelic effect. Most importantly, Syd Barrett began to compose pop-psychedelic gems that combined unusual psychedelic arrangements (particularly in the haunting guitar and celestial organ licks) with catchy melodies and incisive lyrics that viewed the world with a sense of poetic, childlike wonder. The group landed a recording contract with EMI in early 1967 and made the Top 20 with a brilliant debut single, "Arnold Layne," a sympathetic, comic vignette about a transvestite. The follow-up, the kaleidoscopic "See Emily Play," made the Top Ten. The debut album, The Piper at the Gates of Dawn, also released in 1967, may have been the greatest British psychedelic album other than Sgt. Pepper's. Dominated almost wholly by Barrett's songs, the album was a charming fun house of driving, mysterious rockers ("Lucifer Sam"); odd character sketches ("The Gnome"); childhood flashbacks ("Bike," "Matilda Mother"); and freakier pieces with lengthy instrumental passages ("Astronomy Domine," "Interstellar Overdrive," "Pow R Toch") that mapped out their fascination with space travel. The record was not only like no other at the time; it was like no other that Pink Floyd would make, colored as it was by a vision that was far more humorous, pop-friendly, and lighthearted than those of their subsequent epics. The reason Pink Floyd never made a similar album was that Piper was the only one to be recorded under Barrett's leadership. Around mid-1967, the prodigy began showing increasingly alarming signs of mental instability. Barrett would go catatonic on-stage, playing music that had little to do with the material, or not playing at all. An American tour had to be cut short when he was barely able to function at all, let alone play the pop star game. Dependent upon Barrett for most of their vision and material, the rest of the group was nevertheless finding him impossible to work with, live or in the studio. Around the beginning of 1968, guitarist Dave Gilmour, a friend of the band who was also from Cambridge, was brought in as a fifth member. The idea was that Gilmour would enable the Floyd to continue as a live outfit; Barrett would still be able to write and contribute to the records. That couldn't work either, and within a few months Barrett was out of the group. Pink Floyd's management, looking at the wreckage of a band that was now without its lead guitarist, lead singer, and primary songwriter, decided to abandon the group and manage Barrett as a solo act. Such calamities would have proven insurmountable for 99 out of 100 bands in similar predicaments. Incredibly, Pink Floyd would regroup and not only maintain their popularity, but eventually become even more successful. It was early in the game yet, after all; the first album had made the British Top Ten, but the group was still virtually unknown in America, where the loss of Syd Barrett meant nothing to the media. Gilmour was an excellent guitarist, and the band proved capable of writing enough original material to generate further ambitious albums, Waters eventually emerging as the dominant composer. The 1968 follow-up to Piper at the Gates of Dawn, A Saucerful of Secrets, made the British Top Ten, using Barrett's vision as an obvious blueprint, but taking a more formal, somber, and quasi-classical tone, especially in the long instrumental parts. Barrett, for his part, would go on to make a couple of interesting solo records before his mental problems instigated a retreat into oblivion. Over the next four years, Pink Floyd would continue to polish their brand of experimental rock, which married psychedelia with ever-grander arrangements on a Wagnerian operatic scale. Hidden underneath the pulsing, reverberant organs and guitars and insistently restated themes were subtle blues and pop influences that kept the material accessible to a wide audience. Abandoning the singles market, they concentrated on album-length works, and built a huge following in the progressive rock underground with constant touring in both Europe and North America. While LPs like Ummagumma (divided into live recordings and experimental outings by each member of the band), Atom Heart Mother (a collaboration with composer Ron Geesin), and More... (a film soundtrack) were erratic, each contained some extremely effective music. By the early '70s, Syd Barrett was a fading or nonexistent memory for most of Pink Floyd's fans, although the group, one could argue, never did match the brilliance of that somewhat anomalous 1967 debut. Meddle (1971) sharpened the band's sprawling epics into something more accessible, and polished the science fiction ambience that the group had been exploring ever since 1968. Nothing, however, prepared Pink Floyd or their audience for the massive mainstream success of their 1973 album, Dark Side of the Moon, which made their brand of cosmic rock even more approachable with state-of-the-art production; more focused songwriting; an army of well-time stereophonic sound effects; and touches of saxophone and soulful female backup vocals. Dark Side of the Moon finally broke Pink Floyd as superstars in the United States, where it made number one. More astonishingly, it made them one of the biggest-selling acts of all time. Dark Side of the Moon spent an incomprehensible 741 weeks on the Billboard album chart. Additionally, the primarily instrumental textures of the songs helped make Dark Side of the Moon easily translatable on an international level, and the record became (and still is) one of the most popular rock albums worldwide. It was also an extremely hard act to follow, although the follow-up, Wish You Were Here (1975), also made number one, highlighted by a tribute of sorts to the long-departed Barrett, "Shine On You Crazy Diamond." Dark Side of the Moon had been dominated by lyrical themes of insecurity, fear, and the cold sterility of modern life; Wish You Were Here and Animals (1977) developed these morose themes even more explicitly. By this time Waters was taking a firm hand over Pink Floyd's lyrical and musical vision, which was consolidated by The Wall (1979). The bleak, overambitious double concept album concerned itself with the material and emotional walls modern humans build around themselves for survival. The Wall was a huge success (even by Pink Floyd's standards), in part because the music was losing some of its heavy-duty electronic textures in favor of more approachable pop elements. Although Pink Floyd had rarely even released singles since the late '60s, one of the tracks, "Another Brick in the Wall," became a transatlantic number one. The band had been launching increasingly elaborate stage shows throughout the '70s, but the touring production of The Wall, featuring a construction of an actual wall during the band's performance, was the most excessive yet. In the 1980s, the group began to unravel. Each of the four had done some side and solo projects in the past; more troublingly, Waters was asserting control of the band's musical and lyrical identity. That wouldn't have been such a problem had The Final Cut (1983) been such an unimpressive effort, with little of the electronic innovation so typical of their previous work. Shortly afterward, the band split up -- for a while. In 1986, Waters was suing Gilmour and Mason to dissolve the group's partnership (Wright had lost full membership status entirely); Waters lost, leaving a Roger-less Pink Floyd to get a Top Five album with Momentary Lapse of Reason in 1987. In an irony that was nothing less than cosmic, about 20 years after Pink Floyd shed their original leader to resume their career with great commercial success, they would do the same again to his successor. Waters released ambitious solo albums to nothing more than moderate sales and attention, while he watched his former colleagues (with Wright back in tow) rescale the charts. Pink Floyd still had a huge fan base, but there's little that's noteworthy about their post-Waters output. They knew their formula, could execute it on a grand scale, and could count on millions of customers -- many of them unborn when Dark Side of the Moon came out, and unaware that Syd Barrett was ever a member -- to buy their records and see their sporadic tours. The Division Bell, their first studio album in seven years, topped the charts in 1994 without making any impact on the current rock scene, except in a marketing sense. Ditto for the live Pulse album, recorded during a typically elaborately staged 1994 tour, which included a concert version of The Dark Side of the Moon in its entirety. Waters' solo career sputtered along, highlighted by a solo recreation of The Wall, performed at the site of the former Berlin Wall in 1990, and released as an album. Syd Barrett continued to be completely removed from the public eye except as a sort of archetype for the fallen genius.

Affinity - "Affinity" 1970 Paramount Records PAS-5027 - Vinyl Album LP

foxmusic — Mon, 1 Sep 2008 07:20:41 MDT

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Affinity - "Affinity" 1970 Paramount Records PAS-5027 - Vinyl Album LP - Affinity_1970_Paramount_Records_LP.jpg

The self-titled album by the short-lived outfit Affinity displays a lot of potential, which if not wholly successful has an individuality separating them from their more jazzy and progressive peers. If Linda Hoyle's talent for fusing the vocal traits of Bessie Smith, Grace Slick, and Sandy Denny together semi-successfully is the defining point, then Lynton Naiff's pounding Hammond workouts fall somewhere between the exceptional and the overdone. With the addition of John Paul Jones' fine brass arrangements, which are to the fore throughout, a very soulful feel reminiscent of the latter work of Brian Auger, Julie Driscoll & the Trinity is created. And the album's variety of moods sustains interest throughout. "Coconut Grove" (the Lovin' Spoonful song) is given a similar slow treatment to Donovan's diversions into jazz on Sunshine Superman, notably "The Observation," while a heavier element is supplied by a few heavy Hammond numbers, with a take on Dylan's "All Along the Watchtower" being the most impressive. Although over 11 minutes long, some complex progressive organ work similar to Caravan's David Sinclair is displayed, preventing it from becoming predictable. A forlorn baroque Harpsichord interpretation of the Everly Brothers' "I Wonder if I Care as Much" adds a haunting quality to the set with Jones' string arrangements and Hoyle's vocals working hand in hand, and "Mr. Joy" allows the young singer to pay patronage to her heroine, Grace Slick, in which the Jefferson Airplane comparisons can really be heard. At times overambitious. And a plethora of cover versions given the progressive treatment instead of Affinity originals is a major letdown. But as an early work of post-'60s progression, this album is a pleasurable experience recalling the days when musicians and singers really worked hard at what they did. Signed by Vertigo in 1970 on the crest of the jazz-rock wave, the short-lived Affinity released only one single and album before splitting. Comprised of young singer Linda Hoyle, bassist Mo Foster, guitarist Mike Jupp, keyboardist Lynton Naiff, and drummer Grant Serpell, a musical maturity was displayed, blending folk, jazz, soul, blues, and elements of contemporary psychedelia and progressive rock. Highly regarded by critics, who praised the young Hoyle's powerful vocals and Naiff's inherent organ skills, it looked as if the band were to have a healthy career. Derek Jewell of The Sunday Times wrote, "Naiff is already a virtuso, soul-style, and the whole group is probably the best new thing heard in the jazz-pop area this year." But although the seven-track album was well received, the band split soon after. To label their work under any one genre is a hard task, and the jazz-rock/blues-rock classification they are usually squeezed into is far from fitting. As with many other late-'60s progressive acts, Affinity was just getting their footing when they split.