Vinyl Me, Please - August Batch + Comparison Against a First Pressing!

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Dinah Washington – For Those In Love
Thin Lizzy – Jailbreak
Gravediggaz – 6 Feet Deep
Waylon Jennings – Honky Tonk Heroes
Blossom Dearie – Blossom Dearie


‘Blossom Dearie’ lays out Dearie’s basic mission: music that transports the listener to a room where she herself might be singing directly to them, the kind of intimate room that now feels lost to another time and place. It’s no wonder her records, with their specific yet classic sound, have become common in movie and TV soundtracks (and less glamorously, Starbucks playlists) — they’re a cheat-code for sophistication that doesn’t take itself too seriously.

“When Thin Lizzy’s 'Jailbreak' was released on March 26, 1976, rock ’n’ roll was at a fascinating crossroads. The old-school dinosaurs who led ’60s rock — The Who, Led Zeppelin, The Rolling Stones — were still standing but limping along, already sounding like nostalgia acts to younger listeners. The next generation of arena-rock groups — Aerosmith, Kiss, Black Sabbath —were grounded in a more flamboyant, “party till you puke” sensibility that would soon be subsumed by the ascendent heavy metal movement. 'Jailbreak' would prove as foundational to the future sound of metal as AC/DC’s 'High Voltage' or Motörhead’s 'Motörhead,' just as Thin Lizzy’s no-nonsense musical approach informed the sensibility of punk.”

“Dubbed the Queen of the Blues and the Queen of the Jukeboxes — titles Dinah Washington used herself — she nevertheless resisted genre orthodoxy, and was clearly resentful whenever she was asked to explain or categorize her vast catalog. And yet, her omnivorousness has made consolidating her legacy a knottier task than most are willing to take on. Compared to Billie and Ella — inarguably her peers — Washington’s reach was broader, more challenging to sort into canons and best-of lists. Pop and blues and big band singles were recorded and released without an easily traced chronology or progressive narrative. The Queen could do it all, so why wouldn’t she?”

“Part of why Gravediggaz's '6 Feet Deep' continues to be hailed and viewed so favorably after all these years goes beyond its actual contents and instead in how it was marketed and branded. The horrorcore narrative certainly wasn’t hurt by placement in multiple horror films. While all '6 Feet Deep’s' big-screen film soundtrack features likely provided desirable licensing fees and additional promotion for '6 Feet Deep,' it simultaneously hammered home this idea of Gravediggaz as a novelty act as opposed to the multifaceted conceptual art-as-revenge project it actually is. As evidenced by Paul’s next releases apart from the group, it remains a tonally singular record in a broader discography.”
“On 'Honky Tonk Heroes,' Waylon Jennings had no one else to answer to, and the joyful mess of the album testifies to the kind of magic that can happen when you finally cut a lifelong misfit loose. 'Honky Tonk Heroes' isn’t Jennings’ first great album, but it was the first that captured his wild-hair energy instead of attempting to tame it. It belonged completely to him. It was so liberating that it would unleash a series of triumphs. This is the birthplace of the iconic 1970s Waylon, the one who would go on to slalom across the rest of the decade on a series of increasingly brilliant albums and mountains of cocaine. Waylon Jennings transformed himself into the Waylon, the leader of a movement forever altering the perception of country music in America.”



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