Crappy Album Covers #177 — Hi, mum!
Crappy Album Covers #140 — Bad Hair III
|Enough with bad hair on women, Guys are equally capable of falling out of the wrong side of the bed and combing their hair with a mixmaster.
Many may like the music inside this 1998 double CD by The Jimi Hendrix Experience, but clearly, their hair is wearing them, not the other way around.
The album was recorded over two separate years, all but 5 tracks were done in 1967 and the rest in 1969.
|Chris Lee clearly has a case of bed-head. Photo was likely cut off at the top to hide the “cow-lick”.
This 2003 album “Cool Rock” has been mildly recieved by reviewers, and has not charted, that I am aware of.
Crappy Album Covers #137 — Food on Vinyl VI
|Here is the Lawrence Welk organist Bob Ralston, who while trying to be Alpert-esque with the album lettering, has still managed to do this album cover without being covered in food, to his credit.
Judging by Ralston’s youthful appearance, this album probably dates to about the same time as “Whipped Cream”.
|“Sweet Cream and Other Delights” is a 1978 album by the all-girl funk/soul trio from Detroit called Sweet Cream.
When working as backup singers, they would be featured on many albums as “The Ridgeway Sisters” or “The Ridgeways”.
The three Ridgeway sisters (Gloria, Esther, and Gracie) have been singing as a group since age 4, 6 and 8 respectively. At most recent report, only Gloria has survived the three, the others having passed on in this decade, while still in their forties.
Crappy Album Covers #136 — Food on Vinyl V
|While I can’t say whether the alternative group Soul Asylum qualifies as Aplert “wannabees” exactly, having bassist Karl Mueller sit half-naked in a mountain of clam dip and other unintelligible seafood was actually something that made Alpert very un-amused. And since he is the owner of A&M Records, who in turn own Twin Tone (where Soul Asylum was signed under), this 1989 album was something that almost marked the beginning of the end of the group.
This album is still in print (according to Wikipedia) under Rykodisk.
|Is it a parody of Alpert’s record? *Is* it?
Take a good look at the woman’s “dress”: yes, kiddies, it is made of bubblegum. This is “Right to Chews: Bubblegum Classics Revisited”. Features groups with quasi-familiar names (at least to me) like “The Mitch Easter Sound!”, “Jim Laspesia With Michael Quercio”, “The Rubinoos”. This website has verified that this 2002 album does not suck. It’s currently selling on many websites for around $15.
Crappy Album Covers #135 — Food on Vinyl IV
|Yes, Herb Alpert was at it again, back in 2006, when this CD got released. Re-Whipped appears to have some of the same standards on there, with some new stuff thrown in.
In this age of “Hoochie Mamas” and Paris Hilton getting laid in front of the whole Internet, the whipped cream idea doesn’t have the same impact it used to have.
Having discovered many of these covers, I now have a plethora of Herb Alpert wannabees which have now engendered an extension to my “Food On Vinyl” subseries over the next few days.
|At least Peter Nero isn’t flogging food but he certainly is a Herb Alpert wannabe, having stolen his typeface design for his own album. This was released in 1967, about the same year as Alpert’s “Whipped Cream and Other Delights”.
Having won two Grammies, and having many honorary degrees, you would think that he wouldn’t need to play a “salute” to anyone.
Nero has been playing Jazz and Pop music since 1958. He still conducts and plays piano for the Philly Pops.
Crappy Album Covers #103 — My Bruthas’ Johnson (more phallic symbols)
|The funk/disco/R&B duo The Brothers Johnson’s 1980 recording, “Light Up The Night”, was the high water mark in their career as a duo. Rolling Stone listed this record as #48 in the top 100 records of the 1980s.Looks like George is using his Johnson to light up Louis. Probably didn’t help sales, which went to #5 on Billboard’s Top 200 despite the album cover.
The record did not release any pop hits, but likely had at least one dance club hit, “Stomp!”. The Brothers Johnson were probably best known for their mid-70s pop hit “Strawberry Letter 23” (peaked on BB as a single at #5 in 1977).
|Now we have a guitar as a phallic symbol. But they always kind of were. The drummer never gets the girl. It’s always the guitarist. Lead guitarist? Even better. They are the alpha males in the group (if you want to carry the analogy to apes).Chicks also dig motorcyles. And motorcycles and guitars together? SCORE!!!! Evidently, Ray Nelson’s invention of a guitar-shaped motorcycle never quite caught on, except as novelty. Nelson rode around the country in one which he built himself in 1980.
He also recorded this record 10 years earlier with a few colleagues of his. The idea stuck in his mind to build a motorcycle that had a guitar motif, from the drawing on this album cover. If the drawing was followed exactly (it probably wasn’t), they would probably find that the fretboard was blocking the headlight.
Nelson has made several selefless contributions to society, through his “Guitars not Guns” campaign aimed at wayward youth, and also by being a foster parent.
Crappy Album Covers #28 — Bad Ideas
Here, the glam rock group Nelson provides the musical answer to the riddle “why do dogs lick themselves?”
Members Matthew and Gunnar, the twin sons of Ricky Nelson — who, in turn was the son of Ozzy and Harriet Nelson, have the distinction of belonging to a family that has had #1 hits in each of these three successive generations. This seems important enough to mention in the Guiness Book of Records, since they are the only family to have accomplished this.
This second album, “Because they Can”, released in 1995, five years after their first album, did not produce a #1 hit, and Geffen stopped promoting them.
Erotic Terrorism is the 1998 album produced by the British hip-hop group Fun-Da-Mental.
They have released seven albums since their inception in 1995. This album is their third, and the latest was “All Is War”, released in 2006.
I may be a little slow on the uptake here, but I can’t for the life of me figure out how depictions of violence and anger can serve the cause of peace. These people are purportedly against violence. Their website even has a “dollar ticker” representing the cost of the Iraq war. But it is just my word against a whole hip-hop/gangsta rap culture. To me, it just looks like immature and hypocritical grandstanding. Sorry, I simply don’t get it.
As for the terrorist angle, guns are now considered a relic of the 20th century. Nowadays if you are not a suicide bomber, all you need is an exacto blade and maybe other sharp office equipment, board a plane and hijack it! I saw that on TV back in 2001.
On a lighter note, there is no information on Foster Edwards, his orchestra, or his album which dates around 1966.
But it must have been a low-budget affair, since the band members worked for peanuts (now, you knew that one was coming).
They would even wear Beatle wigs to appear trendy to mid-60s fashions.
Crappy Album Covers #27 — More people who worry me
Crappy Album Covers #26 — Phallic symbols
Phallic symbols, their effects, and other weirdness…
Tex Williams: Smoke! Smoke! Smoke!
Crappy Album Covers #25 — Da Doktor’s In Da House
This album was only released in England in 1976, by a Pop/Country musician from Missouri named Jimmy Payne.
Payne wrote hits for the likes of Gary Puckett and the Union Gap (Remember “Woman, Woman”?), Charlie Pride, Glen Campbell, and Tammy Wynette, among others.
He still lives with his wife in Nashville, and he apparently is still recording music. His last CD was released in 2003.
I now have it on good authority that this album was a charity effort. He gave a concert to some high-risk psychiatric patients at Broadmoor, was well received, and gave a chunk of his album proceeds to the cause of mentally handicapped children in England. You would likely be aware that eight years earlier, Johnny Cash had released his album “Live at Folsom Prison”. Payne made his album in the same spirit as Cash. If you want slightly more info, scroll down.
Broadmoor is one of two high-security psychiatric hospitals in England. Broadmoor is located in Crowthorne, just west of London. “The other” famous psychiatric hospital in London, Bedlam, no longer serves high-security cliients, and I hear they no longer charge admission.
This is the kind of needle used to deliver strong anaesthetic, although I’ve seen something like this used to inject basting juice into the meat of turkeys as they cook.
The visual message here is likely to be that if the syringe doesn’t get you, the music will.
Somethin’ Smith and The Redheads were a vocal group that had their heyday in the 1950s with the song “It’s a Sin To Tell a Lie” (#7 on Billboard), off the album “Crazy People”.
And here they are checking in for their treatment. The expressions on the faces of the nurses tell me they have been bad, bad, bad, naughty, naughty boys, and therefore require some special treatment. Very special treatment. The kind of treatment that involves the three of them being tied to a bench in straitjackets.
As part of your treatment, you are supposed to let the nurses muss up your hair.
Don’t ask me what the flagpole is about.
I would imagine that Rae Bourbon (was Ray Bourbon) (1892-1971), who died in prison on charges of murder, has a few stories to tell besides his operation.
Bourbon’s operation was the first sex change operation performed in North America. Newspapers told of the Mexican operation in 1956. Before that, he was a female impersonator, and had appeared in movies with Mae West.
Something that is currently under high rotation on my iPod (actually, it’s an el-cheapo SanDisk that does the same thing) is a song called “Calling on Mary” by Aimee Mann. Aimee Mann has had a few good tracks after she parted from ‘Til Tuesday. But for some reason, this one, from what must be one of the moodiest Christmas albums I have ever heard (“One More Drifter in the Snow”), has me addicted. The song has that addictive quality of hitting all the right notes and the has all the right chord changes to keep it engaging. I would like it to be a love song or something, but here it is, a Christmas song. There is definite heart-ache in the music, more so than the words. It is an articulation of feeling I would put up there with George Harrisson. At least in that tune.
One wonders why she hadn’t been bigger as an act. There is definite hit quality in her music. It seems her “image” is of a female who thinks, who ponders, who is moody and introspective. None of these qualities are common in female acts.