Retrovival is the appreciation, recycling and renewal of all things retro.

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"vinyl sunday"
ELVIS! ELVIS! ELVIS! Rocker 1957
Little secret about me: I used to be obsessed OBSESSED with Elvis. Had my whole room as a kid decorated with Elvis stuff. Yes, even the hip swinging wall clock.
Got this record today for three bucks. My favorite part is the cover. He’s sittin’ all straddle style on top of his motorcycle. Leather jacket. Gelled hair. Loafers. White socks. Total stud.

ELVIS! ELVIS! ELVIS! Rocker 1957

Little secret about me: I used to be obsessed OBSESSED with Elvis. Had my whole room as a kid decorated with Elvis stuff. Yes, even the hip swinging wall clock.

Got this record today for three bucks. My favorite part is the cover. He’s sittin’ all straddle style on top of his motorcycle. Leather jacket. Gelled hair. Loafers. White socks. Total stud.

Apr 24th, 2011
I’m currently listening to The Who Sell Out - The Who, 1967
This record continues to be among my favorites and most played, for the music and cover design.

I’m currently listening to The Who Sell Out - The Who, 1967

This record continues to be among my favorites and most played, for the music and cover design.

Oct 17th, 2010
Vinyl Sunday - In the Court of the Crimson King
When my mom was in her early twenties, she painted a large scale version of the extended album cover of In the Court of the Crimson King by a British rock group called King Crimson. Complete music heads and hippies to the core, my parents devoured the most obscure, progressive and revolutionary music of their youth. As an ode to one of their favorite bands, my mom (a recent art grad) reproduced this incredibly expressive and sometimes terrifying album cover on a large canvas. Sadly, having next to no money at the time, my mother was forced to trade the piece for some furniture. Over the years, my sister and I have often heard how incredibly accurate her rendition of the album cover was to the original cover by artist, Barry Godber (who himself was merely a computer programmer). 

In the hopes of reviving lost art and as a tribute to my mother, I persuaded her to join me in chalking this album cover out on the streets of downtown Raleigh during last week’s artSPARK event (as part of SPARKcon). Our experience was rewarded by droves of passers-by taking photos, shaking our chalk-stained hands, sharing their love of King Crimson’s music and reminiscing about the band’s epic concerts.
The Sunday after artSPARK while I strolled down Fayetteville Street with a couple of friends, I spotted the evil street washer making his way toward our precious psychedelic artwork. Monday was soon approaching which meant mom’s and my 5 x 5 foot King Crimson album cover would be removed from the hot asphalt. We hurried over for a long last look. It seemed so appropriate that upon the final visit, we found a couple from New York at the foot of the square holding their cell phones up in the air, blaring the song “21st century Schizoid Man,” eyes closed, bobbing their heads in tribute to the band they called “the best fucking group ever.”
Obscure and considered extremely progressive from the point of its release in the late sixties, In the Court of the Crimson King was hailed by music critics and renown rockers as a masterpiece and among the most influential progressive rock albums ever released . [via]

Vinyl Sunday - In the Court of the Crimson King

When my mom was in her early twenties, she painted a large scale version of the extended album cover of In the Court of the Crimson King by a British rock group called King Crimson. Complete music heads and hippies to the core, my parents devoured the most obscure, progressive and revolutionary music of their youth. As an ode to one of their favorite bands, my mom (a recent art grad) reproduced this incredibly expressive and sometimes terrifying album cover on a large canvas. Sadly, having next to no money at the time, my mother was forced to trade the piece for some furniture. Over the years, my sister and I have often heard how incredibly accurate her rendition of the album cover was to the original cover by artist, Barry Godber (who himself was merely a computer programmer). 

In the hopes of reviving lost art and as a tribute to my mother, I persuaded her to join me in chalking this album cover out on the streets of downtown Raleigh during last week’s artSPARK event (as part of SPARKcon). Our experience was rewarded by droves of passers-by taking photos, shaking our chalk-stained hands, sharing their love of King Crimson’s music and reminiscing about the band’s epic concerts.

The Sunday after artSPARK while I strolled down Fayetteville Street with a couple of friends, I spotted the evil street washer making his way toward our precious psychedelic artwork. Monday was soon approaching which meant mom’s and my 5 x 5 foot King Crimson album cover would be removed from the hot asphalt. We hurried over for a long last look. It seemed so appropriate that upon the final visit, we found a couple from New York at the foot of the square holding their cell phones up in the air, blaring the song “21st century Schizoid Man,” eyes closed, bobbing their heads in tribute to the band they called “the best fucking group ever.”

Obscure and considered extremely progressive from the point of its release in the late sixties, In the Court of the Crimson King was hailed by music critics and renown rockers as a masterpiece and among the most influential progressive rock albums ever released . [via]

Sep 27th, 2010
Vinyl Sunday (Birthday Edition) - Buddy Holly Record Set
I still can’t contain my excitement over this 6-record set! My awesome sister and brother-n-law gave me the Complete Buddy Holly collection for my birthday. Its seems so appropriate seeing as Buddy was a Virgo too (September 7, 1936). His “hiccup” (glottal stop) singing style, trademark frames, and sweet lyrics on love make me weak in the knees…
Between the ages of 17 and 22, Buddy Holly made music that would live on to influence some of the biggest artists in contemporary music. On February 3, 1959, a small plane carrying him, Ritchie Valens, and The Big Bopper went down in Clear Lake, Iowa. That date would later become known as “The Day the Music Died”. 

Vinyl Sunday (Birthday Edition) - Buddy Holly Record Set

I still can’t contain my excitement over this 6-record set! My awesome sister and brother-n-law gave me the Complete Buddy Holly collection for my birthday. Its seems so appropriate seeing as Buddy was a Virgo too (September 7, 1936). His “hiccup” (glottal stop) singing style, trademark frames, and sweet lyrics on love make me weak in the knees…

Between the ages of 17 and 22, Buddy Holly made music that would live on to influence some of the biggest artists in contemporary music. On February 3, 1959, a small plane carrying him, Ritchie Valens, and The Big Bopper went down in Clear Lake, Iowa. That date would later become known as “The Day the Music Died”. 

Sep 12th, 2010

Vinyl Sunday for the win

So its probably quite obvious at this point that I am a complete vinyl junkie. Nothing makes me happier and more nostalgic than finding great albums at reasonable prices…and then coming home and playing the crap out of them. Since having moved back from Spain in December, my record collection has been growing quite nicely thanks to some hhhhamazing (“h” for emphasis) record vendors I have found here and there.

For most natives of this city, the Raleigh flea market is a weekend must. There is a vendor at the market with a pretty bad ass collection of vinyls for whom I will happily brave the elements. Despite snow, rain, painful wind and temperatures, the past few weekends have been a total win. Two weekends ago I came away with these gems:

Joni Mitchell - Blue
The Cars - The Cars (this one gets played the most)
Wings - At the Speed of Sound
Janet Jackson - Control (skips a bit but so worth it)
Heart - Heart (Take a gander at the mullets on this album cover and tell me if they are not the most glorious in all the land…)

Well I returned today and it took me a few boxes to really gain momentum. (It typically takes anywhere from 15-30 minutes to get past all the Linda Ronstadt and Dan Fogelberg albums to get to the real music.) But then suddenly the clouds parted, mountains collided, angels cried and I came to THE box. And this is what I found:

Michael Jackson - Bad (and I only paid $7 for it)
Mamas and Papas - 20 Golden Hits
The Cars - Candy-O
The Cars - Panorama (Touch and Go!!!)
Wings - London Town
Simon and Garfunkel - Greatest Hits
Queen - A Night at the Opera
ELO - Out of the Blue (total win)
The Moody Blues - This is the Moody Blues (double album greatest hits yeeeesss)
David Bowie - Changesonebowie (extra excited about this one)
The Grass Roots - Their 16 Greatest Hits (LOVE LOVE LOVE)

Happy V-Day everyone…V as in “vinyl” that is…:)

Feb 14th, 2010
Feb 7th, 2010
Let It Bleed album by the Rolling Stones, 1969.
Why the album rocks: The Let It Bleed album has been thought to be a response to the Beatles’ Let It Be as the majority of the Let It Be recording sessions took place before those of the Let It Bleed album. However, theories vary as to whether the title was making fun of the Beatles inability to complete their own album or if it was an expression of solidarity with a recording process that has been equally as taxing on the Rolling Stones. When the album was released in December of 1969, it reached #1 in the United Kingdom, knocking Abbey Road out of the top slot. The album has been called the great summoning up of the dark underbelly of the 1960s. Let It Bleed is the second of Rolling Stones’ run of four studio LPs that are widely regarded as the band’s greatest artistic achievements, equaled only by the best of their 45s of that decade. (The other three albums are Beggards Banquest (1968), Sticky Fingers (1971), and Exile on Main Street (1972)).
Why the cover design rocks: The cover of the album features a surreal sculpture by Robert Brownjohn. The image consists of the Let It Bleed record being played by the tone-arm of an antique phonograph and a record-changer spindle supporting several items stacked on a plate in place of a stack of records: a tape canister labeled Stones - Let It Bleed, a clock face, a pizza, a tire and a cake with elaborate icing topped by figures representing the band members. The cake portion of the stack was designed by cookery writer Delia Smith. The reverse side of the album cover features the same record stack melange in a state of disarray.

The artwork was inspired by the working title of the album, Automatic Changer. The inside of the album sleeve features the message “This record should be played loud.”

[via]

Let It Bleed album by the Rolling Stones, 1969.

Why the album rocks: The Let It Bleed album has been thought to be a response to the Beatles’ Let It Be as the majority of the Let It Be recording sessions took place before those of the Let It Bleed album. However, theories vary as to whether the title was making fun of the Beatles inability to complete their own album or if it was an expression of solidarity with a recording process that has been equally as taxing on the Rolling Stones. When the album was released in December of 1969, it reached #1 in the United Kingdom, knocking Abbey Road out of the top slot. The album has been called the great summoning up of the dark underbelly of the 1960s. Let It Bleed is the second of Rolling Stones’ run of four studio LPs that are widely regarded as the band’s greatest artistic achievements, equaled only by the best of their 45s of that decade. (The other three albums are Beggards Banquest (1968), Sticky Fingers (1971), and Exile on Main Street (1972)).

Why the cover design rocks: The cover of the album features a surreal sculpture by Robert Brownjohn. The image consists of the Let It Bleed record being played by the tone-arm of an antique phonograph and a record-changer spindle supporting several items stacked on a plate in place of a stack of records: a tape canister labeled Stones - Let It Bleed, a clock face, a pizza, a tire and a cake with elaborate icing topped by figures representing the band members. The cake portion of the stack was designed by cookery writer Delia Smith. The reverse side of the album cover features the same record stack melange in a state of disarray.

The artwork was inspired by the working title of the album, Automatic Changer. The inside of the album sleeve features the message “This record should be played loud.”

[via]

Dec 27th, 2009
Dec 6th, 2009
Vinyl Sunday - Rummaging through mah record collection…

Vinyl Sunday - Rummaging through mah record collection…

Dec 6th, 2009