Every week we compile lists of killer used LPs filling the bins at both the Chicago shop and the Los Angeles shop, but that's not all the used stuff that came in that week. Both shops are putting out hundreds of great used LPs every week.
Come on down to either shop and do some digging!
Running out of room, need to clear some space, going on the lam? Regardless of the reason, before you unload your unwanted records and digital media, please bring them to us for CASH or STORE CREDIT! One man's trash is another man's treasure and we treasure all sorts of quote un-quote trash! Before you donate your stuff or have a yard sale, drop us a line. We'll probably pay more (without haggling) than you'll ever get at a garage sale and often times we'll buy it all in one shot. It doesn't get much easier that! So remember, when you wanna sell your stuff, SELL IT TO US! Please and thank you!
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THIS WEEK'S USED EMPLOYEE PICKS OF THE WEEK
LP - Various Artists - Blazing Wheels and Barking Trucks: Skate Rock Vol. 2 - $49.99
So what are the songs like?
1. McRAD – Prevent This Tragedy. An amazing start. This song absolutely shreds. Featuring Chuck Treece (sponsored Santa Cruz skateboarder) on guitar. Early philly HC, a scene I know very little about. Anybody got the Dominant Force EP from 1984? Would love to hear it.
2. T.S.O.L. – Other Side. Despite The Meatmen boycott back then, I was a huge fan of TSOL. With that said, I never got into the second singer Joe Wood. This track didn’t change my mind.
3. BIG BOYS – Lesson. This is an alternate version of a track that is on the Lullabies Help The Brain Grow LP. I always liked this version better because it is tighter and faster. Currently available on the Wreck Collection compilation on Gern Blandsten.
4. ANVIL CHORUS – Blue Flames. I love this track. I wouldn’t even call this crossover, its just old-school metal. Listen to those Iron Maiden-style guitar runs! Knew nothing about these guys other than they were awesome on this comp.
5. THE FACTION – Friends And Enemies. Steve Caballero’s band. You already know everything about this band. Great track.
6. KINGPINS – Ready To Rip. Wow…a blazing rockabilly track. Kinda reminds me of what Eddie and the Subtitles were attempting on some of thier songs but BETTER. I can’t find any info on these guys online. None. It’s a testament to the greatness of this comp that you could feature this and The Anvil Chorus and that it could somehow still all sound cohesive.
7. LOS OLVIDADOS – Something New. I was never a big fan of these guys sound. I dunno why. Most of my friends love this San Jose group. If you do, it has been re-released on Alternative Tentacles as part of thier Skate Rock series.
8. BORSCHT – Bye-Bye. A hardcore band from New Jersey. They were also on the Flipside Volume One comp, which I will post down the road. No info on the web unless you are looking for beet soup. Good but somewhat generic.
9. FREE BEER – Pigs In Space. An instrumental by this great band. Good use of cowbell. Also available on the Alternative Tentacles Skate Rock series. Volume One, I believe. Features pro skater Tommy Guerrero.
10. J.F.A. Beach Blanket Bongout. Really, what would a skate rock comp be without JFA. Great rawer version of on of thier classic tracks. Also available on the Alternative Tentacles Skate Rock series.
11. J.F.A. – Johnny D. My favorite version of my favorite JFA song. Also available on the Alternative Tentacles Skate Rock series.
12. T.S.O.L. – In Time – YEAH! Now we are talking. I know nothing about this track at all but I do believe this is “Jack Greggors/Alex Morgon/Jack Ladoga/Jack Delauge/Jack Grisham” on vocals. The style sounds like it was from the Man/Machine era? The production is different. When was this recorded? Anyway, TSOL has been back in the original form (minus Todd Barnes who unforunately passed on) for a few years.
13. FREE BEER – Start the Ark. A very So-Cal sounding song from these Frisco natives. Used to be one of my faves on this comp. Available on the Alternative Tentacles Skate Rock series.
14. TALES OF TERROR – Gods from Outer Space. A weird instrumental from these brilliant scuzzbags. I believe they have a MySpace site with some killer tracks and unfortunately no information.
15. ANCESTORS: GODS OF SOUND – Treasures of Mankind. The Drunk Injuns with a different name. Not as good as the Drunk Injuns tracks but I still love this band. Available on the Alternative Tentacles Skate Rock series.
16. BIG BOYS – Assault. This is an alternate version of a track that is on the Lullabies Help The Brain Grow LP. I always liked this version better because it is tighter and faster. Currently available on the Wreck Collection compilation on Gern Blandsten.
17. McRAD – Tomorrow’s Headlines. A crossover reggae-metal track. Sounded real good back in the day but now sounds kinda dated and cheesy.
18. BORSCHT – Enemy. Better than the other track but still somewhat generic.
19. DRUNK INJUNS – She Gots a Gun. The greatest skate-rock band of all time in my opinion. Flex really fucks this one up when they say, “The singer is good but sounds a bit pathetic sometimes.” What? Are you kidding? These are The Drunk Injuns bitches! Shut the fuck up before you are beheaded by Indian Ghost Warriors. Also available on the Alternative Tentacles Skate Rock series.
Well…what have we learned? That a lot of this shit is currently available on Alternative Tentacles….that Joe wants to hear Dominant Force by McRad…That Flex has thier head up thier ass with regards to the Drunk Injuns. Also, who the hell were The Kingpins? and when did T.S.O.L. record “In Time”?" - The Last Days Of Man On Earth.com
LP - Hawkwind - Doremi Fasol Latido - $39.99
LP - Velvet Underground - Loaded - $29.99
LP - The Fall - Grotesque After The Gramme - $29.99
LP - Neil Young - On the Beach - Promo Copy - $49.99
LP - Clock DVA - White Souls In Black Suits - $29.99
White Souls in Black Suits was released by the invitation of Throbbing Gristle on their own label, the long-defunct Industrial Records. Furthermore, the record was recorded in Cabaret Voltaire’s Western Works studio. The early industrial/noise influence of these two Sheffield bands has a distinct presence on White Souls in Black Suits. Structurally, the album is the most experimental and “un-structured” of all Clock DVA’s albums.
Raw and unpolished, White Souls in Black Suits is a primarily improvised album, ostensibly a piss-take on the English “white soul” groups of the time. The combination of repetitive, distorted guitars, squawking saxophones, and sub-funk, almost dub-influenced bass lines give the music a distinctly post punk/mutant disco sound. The noisy, improvisational element on White Souls in Black Suits, however, betrays Clock DVA’s affiliation with the Industrial Records groups Throbbing Gristle and Cabaret Voltaire. The heavy use of delay, guitar feedback, rhythmic, pounding percussion, and all-out collages of pure noise aligns Clock DVA with the early industrial movement more than any other genre (although that would change after this record).
The world Newton evokes through his music is populated with sinister, shadowy figures, stalkers, serial killers, and imagery of torture straight from the Marquis de Sade. This began, to some degree, on White Souls in Black Suits, and would eventually dominate later Clock DVA records, basically concept albums dedicated to depraved historical figures such as Countess Elizabeth Bathory, who bathed in the blood of virgins.
Repetitive, droning, and eerie, White Souls in Black Suits can be disturbing and difficult to listen to. The album, now near impossible to find copies of, is almost anachronistic and archaic, so far removed are we from the early Eighties Sheffield scene. The poor mastering from the original tapes has rendered the album more of a novelty than anything else. Nevertheless, White Souls in Black Suits is an interesting, albeit unsettling, introduction to an important and overlooked post punk group from the '80s." - Tiny Mix Tapes
LP - Tyvek - Nothing Fits - $9.99
But the Tyvek I knew from their self-titled debut album — the Fast Metabolism CD-R from Siltbreeze, a handful of singles and a couple of live performances — is vastly different than the band that turns up on Nothing Fits. It’s as if Tyvek decided to reinvent themselves as a mutated punk group, and to no one’s surprise, the aesthetic shift works.
There’s a reason it’s called “punk rock” and not “punk rock ‘n’ roll,” and Tyvek have left behind the “roll” that gives garage bands of a certain style their swagger and flex. Here the beat is fast, the chords are limited, and Kevin Boyer’s vocals are mostly shouted. And while demonstrating a strong affinity with hardcore, the songs owe a lot to the first wave of British punk in their pop sensibility. With its call-and-response, opener “4312” recalls “Safe European Home,” the opener from The Clash’s own second album; “Potato” sounds like a Pink Flag outtake; “Underwater To” — the best song on the album and maybe the strongest track Tyvek have recorded — plays like a bouncy Buzzcocks tune as grimed-up by Swell Maps.
It’s interesting too, since I didn’t respond well to the album at first. I didn’t think that I needed anymore tributes to the spirit of ’77 in my record collection, but repeated exposure to these 12 loud, raw, but still catchy songs quickly changed that view. Indeed, once the misguided disappointment that I wasn’t getting today’s equivalent of Wire’s 154 wore off, I completely embraced the superb 25 minutes of music Tyvek had created. Sure, there’s a lot of this stuff out there these days, but the recording is clean, the guitars sound great, and the songs get better with each listen; executing it this well is a rarity.
But my response to the album isn’t the only thing that has changed over time. Released back in November, Nothing Fits was actually recorded in January 2010, a whole year ago. Tyvek had slimmed down from their five-piece lineup to a quartet, and now they’re apparently a trio. Given the aesthetic change of this album, Tyvek could sound completely different by now, perhaps returning to the disjointedness of their debut album or maybe staying the course and planning to release another half-hour of snotty punk bombast. For all I know, they’ve gone metal. But whatever they might sound like, it will certainly be worth paying attention to; whatever lineup or label changes they go through, I hope they’re in it for the long haul. The world could use more Tyvek records." - Tiny Mix Tapes