Welcome to the weird and wonderful world of record covers from the golden age of LPs

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Types and Fonts

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B boys

Enoch Light Orchestra Presents “Spaced Out”   “Exploratory Trips Through the Music of Bach, Bacharach, The Beatles Integrating the Moog,   The Guitar Scene, Electric Harpsichord, French Horns, Etc.”   EMI / Columbia   UK

The Ted Heath Orchestra Plays Beatles, Bach & Bacharach   Phase 4 Stereo   Decca Records     Why the same three “B”s?!

Ron Goodman and His Orchestra ….Play Burt Bacharach   EMI/Columbia UK

Lennon & McCartney GO LATIN with Tony Osborne

1 Star2 Stars3 Stars4 Stars5 Stars (47 votes, average: 4.21 out of 5)
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Music to watch grills by

Another one taken off my kitchen wall.   Bill Doggett   “Hot Doggett”   King Records

1 Star2 Stars3 Stars4 Stars5 Stars (42 votes, average: 3.48 out of 5)
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Burnin’ love

Fancisco Zapata   Organo y Ritmos   “Rojo Candela”

1 Star2 Stars3 Stars4 Stars5 Stars (34 votes, average: 3.76 out of 5)
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Mod man out

Dick a la “Mod”   (Click for more Dick)

1 Star2 Stars3 Stars4 Stars5 Stars (48 votes, average: 3.35 out of 5)
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Original synth

“Ten Ragas to a Disco Beat” (check it out) by Charanjit Singh (India, 1982) newly discovered and rereleased by our friend Edo at Bombay-Connections Records who writes:

*Until recently it wasn’t much more than some rumours on the web: a 1982 released LP called TEN RAGAS TO A DISCO BEAT containing Kraftwerk-like acid house music, years before the genre was invented.

So it turns out, the record was no rumour. Only a few hundred copies of the LP were ever pressed, and only a handful seem to have survived. Moreover, the LP outdoes all expectations. Performed on the synths that would later define Acid House, the Roland TB-303 and TR-808, the album sounds light years ahead of its time with its repetitive beats and hypnotic electronic melodies. Its maker, Bollywood session musician Charanjit Singh, set out to translate ancient Indian classical Ragas to the modern synthesizer and in doing so seems to have invented House music along the way. The 10 tracks make a consistent listen from A to Z. Its restrained minimalism and lack of cheesiness makes it incredibly contemporary, sounding animated, fluid and unabashedly alive.”

1 Star2 Stars3 Stars4 Stars5 Stars (52 votes, average: 3.69 out of 5)
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Bikini wax

From Thailand.

1 Star2 Stars3 Stars4 Stars5 Stars (40 votes, average: 3.85 out of 5)
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“Sex Sax”   Moacyr Silva e Seu Sax de Ouro   (Brazilian wax)   Check out that crazy font!

1 Star2 Stars3 Stars4 Stars5 Stars (87 votes, average: 3.86 out of 5)
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Your cash ain’t nothing but trash

“Money is to Burn”   (Cookin’ the books?   Fiscal inferno?)

1 Star2 Stars3 Stars4 Stars5 Stars (56 votes, average: 4.04 out of 5)
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King of the conga


“Acid”   Ray Barretto Fania Records   (1968)   A classic.   A well-know dance floor firestarter, but also a great cover worthy of another look.   Features “Acid”, “Teacher of Love”, “Mercy, Mercy, Baby”, “Soul Drummers”, “A Deeper Shade of Soul” –   the whole LP is an afro-latin, soul, funk and boogaloo fusion that makes you wanna move your feet.   “Have you heard them cooking / The Soul Drummers / well they play so cool / Soul Drummers / so hard to resist / Soul Drummers / with the African twist.”   A jewel in the amazing Fania catalog.   Drop “Acid” at your next party and see what happens.

1 Star2 Stars3 Stars4 Stars5 Stars (59 votes, average: 3.63 out of 5)
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Keeping up with the Jones’


“Mad Thad”   Leonard Feather presents Thad Jones   Period Records   NYC, January 6, 1957

Thad Jones (tp) Henry Coker (tb -2,3) Frank Wess (ts, fl) Tommy Flanagan (p) Eddie Jones (b) Elvin Jones (d) with Frank Foster, Jimmy Jones, Doug Watkins, Jo Jones,   Quincy Jones

Bird Song, Cat Meets Chick, Quiet Sip

Late 1956 and early 1957 found Thad Jones in the midst of a rewarding flurry of recording activity.   During time off from Basie, however, Jones poured his energy into composing, arranging, and playing with fires of creativity that led Charles Mingus to call him “the greatest trumpet that I’ve heard in this life.” For Mad Thad, Jones recruited a few of his favorite Basie colleagues and a Basie veteran, drummer Jo Jones. For one session, he brought in his brother Elvin on drums and another fellow Detroiter, pianist Tommy Flanagan. Fully justifying Mingus’s enthusiasm, Jones played at the top of his game of melodic and harmonic invention. His compositions included a blues line that quickly became a jazz standard, “Bird Song.” – Concord Records

1 Star2 Stars3 Stars4 Stars5 Stars (40 votes, average: 4.23 out of 5)
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