Jive Time Turntable

Project Thirty-Three Tees and Hoodies

Project Thirty-Three Tees and Hoodies have arrived! This design was inspired by the circles and dots so prevalent on the album covers featured on our popular blog, Project Thirty-Three. The site showcases our collection of mid-century record sleeves featuring only simple shapes and typography and the brilliant designers that made these objects come to life.

Black and white prints available on over twenty colors. Choose from men and woman’s American Apparel Tees, long-sleeved shirts, hoodies, kid’s wear, and more! Visit the store›

Chicken Shack “40 Blue Fingers, Freshly Packed and Ready to Serve” (1968)

Formed in 1967, Chicken Shack consisted of Stan Webb on guitar and vocals, Andy Sylvester on bass, Christine Perfect (later known as Christine McVie, as a part of the great Fleetwood Mac), on vocals and keyboards, and Alan Morley on drums.

“40 Blue Fingers” is an excellent example of the booming late 60’s blues scene in & around London. With John Mayall & Alexis Korner creating benchmarks for the British blues scene, Chicken Shack were absolutely in the right place at the right time. Stan Webb is another under-rated guitarist of the late 60’s British Blues Scene along the lines of Paul Kossoff (Free). Christine McVie is a Goddess featuring a very powerful, soul-driven voice that’s very clearly influenced by the great John Mayall.

Chicken Shack made their public debut at the Great Britain’s National Blues & Jazz Festival at Windsor along with Fleetwood Mac on August 13, 1967. “There were two stages at Windsor, the main one an open-air ramshackle structure, the other inside a marquee. Fleetwood Mac had their initiation on the main stage but much was made of Chicken Shack’s tented debut.” All said and done, Christine McVie’s performance and Stan Webb’s charismatic guitar playing make this album a worthy buy. —Warchild786

Eberhard Weber “The Colours of Chloë” (1974)

In the documentary Jazz by Ken Burns, Wynton Marsalis says that Jazz Fusion was a dead end, so Burns, ever a dupe of authority, leaves most of the great work of the 1970’s out of the documentary as if it never existed.

He and Ken Burns ought to have listened to this great album, a work of subtly, grace, and ethereal moods, using not just jazz instruments, but a complete range of orchestral colors. A masterpiece of style, and a template for the ECM sound as well, a place where jazz’s best attributes, technique, melodic playing, experimental strides, and lack of cliche, moved Jazz in a truly new direction. —Mark

Robert Wyatt “Rock Bottom” (1974)

The strange and beautiful Rock Bottom has a remarkable story to tell reflected in its melancholy magic. It epitomizes the saying “every cloud has a silver lining” as, in the face of devastating adversity, the resilient Robert Wyatt finds a way to turn personal tragedy into universal triumph. No longer able to sit behind a drumkit [after a paralyzing accident] he uses the keyboard to realize a set of compositions he’d previously developed for his band. Wyatt had already displayed a weird originality on his first solo album End Of An Ear and here he reveals it once again in a completely new direction forced upon him by dire circumstances.

The whole album rests on a small number of simple ideas that might have been approached in a variety of ways but are expanded into fascinating keyboard excursions of ethereal beauty. The shimmering sound Wyatt refers to in his liner notes serves as a backdrop for guest musicians as eminent as Hugh Hopper, Mike Oldfield, Fred Frith and Richard Sinclair. The first two numbers, Sea Song and A Last Straw, are delicate dreamscapes but the lyrics are more poignant than could ever have been imagined. Wyatt sings it straight but can’t resist launching into his unique scat style (imitation of a trumpet) when he runs out of words, a style that helped set him apart from his contemporaries. The drone like quality of the music drifts slowly through the chord changes leaving plenty of space for touches of piano, bass and drums. Wyatt also plays slide guitar on A Last Straw showing what a natural musician he is. On Little Red Riding Hood Hit The Road the tempo picks up a little but without losing its intimacy, the chords run through majors and minors touching at crucial moments on the all-important 7th. Trumpets left and right play short bursts repeatedly, creating, along with the sustained keyboard, a canvas alive with bright colors. At times different parts of the mix go into reverse, the drums, the trumpets and even the vocals, confusing its circular chord sequence delightfully. Add to this the wonderfully comic lyric and Ivor Cutler’s absurd recital and it all amounts to the centerpiece of the album.

Every bit as eccentric as End Of An Ear but profoundly beautiful rather than a silly indulgence, Rock Bottom is Wyatt’s crowning achievement. —Robert

Stereo Stack Posters

These designs are based on our growing online collection of vintage stereo banners, Stereo Stack. Now available as posters, prints and cards in multiple sizes and finishes in our Red Bubble store! Red Bubble offers high-quality digital prints and posters made to order; purchase them individually or as a set, either plain, pre-matted, mounted, laminated, framed, or even stretched on canvas! Visit the store›

Van Halen “Fair Warning” (1981)

With themes of anger, violence, pornography, and the such, Van Halen dives into the darker side of life and explores all the shady back alleys, hidden smut shops, and local rumble lots. Heck, even the cover is creepy, with it’s weird art and depictions of violence. Some dude is getting his face smashed in from the full mount position while a crowd gathers to witness. The lyrical content is way different, changing from the let’s get drunk and screw variety to things like: “And Someone said Fair Warning/ Lord Will Strike That Poor Boy Down/ Turned From Hunted Into Hunter/ Went To Hunt Somebody Down.” Yeah, there’s a lot of that.

The music is much darker and brutal as well, with Eddie VH bringing plenty of guitar muscle to the party. The intro to “Fair Warning,” has Ed taking his two-handed tapping on the fretboard to the next level and adding rhythmic slaps to the formula. It’s a wrist breaking exercise to be sure, but Ed makes it sound… well, not simple, but certainly more fluid than your average guitar slinger.

This is maybe my favorite Van Halen album of them all. It sort of goes back and forth between this one and the first one, but this one has more substance and atmosphere. Highly recommended album featuring a quite different look at the mighty Van Halen. —Michael

Game Theory “Lolita Nation” (1987)

Power Pop Eden indeed. Being so extremely tough to come by and, since indeed it is sprawling as can get, Lolita Nation has been gaining a reputation of being a lost masterpiece of sorts, kinda in the same way that Big Star’s third record took forever to see the light of day. Well, it might not be as “where have you been all of my life” impactant as Alex Chilton’s notoriously damaged “Third/Sister Lovers” but across its 27 tracks there’s plenty for power pop fans to rejoice with. Relatively to their previous albums this one posesses a harder edge, with tunes like “Dripping with Looks” beginning to show a toughening process that clearly anticipates Scott’s future work with Loud Family. The two records Game Theory released leading up to “Lolita Nation” are surely much easier to approach but there’s an undeniable charm and an endearing quality to Miller’s craft, having a wispy voice at best he comes up trumps with immensely imaginative arrangements and oddly hummable tunes (The World’s Easiest Job, the fabulous Chardonnay) to form a colossal, irregular yet ultimately wholly appealing piece of music. —Johnny

Teardrop Explodes “Wilder” (1981)

Teardrop Explodes’ second and last album is a lovely descendancy on Syd Barrett with a post-punk energy. It gave a new domain to psychedelia, extending it to new boundaries at different levels: political, psychological and even eschatological. The tearful “Tiny Children” and the scary “The Great Dominions” give an aura of mysticism to a very joyful album (the amazing trio of openers and “Passionate Friend” belongs to the wittiest 80’s psychedelia), and thankfully everything aged quite well. Even “Like Leila Khaled Said”, the roughest of all tracks, stands agreeably like the bad boy of the family. “…And the Fighting Takes Over” is pure melancholy drenched by the most beautiful keyboard ever heard. With such remarkable collection of songs, “Wilder” is surely a masterpiece. —António

“Sweet” Tees, Hoodies and Posters

This design features twelve of our favorite rock ’n’ roll flavors including Electric Prunes, Strawberry Alarm Clock, Vanilla Fudge, The Raspberries, Tangerine Dream, The Lemon Pipers, Chocolate Watchband, Ultimate Spinach, The Peppermint Trolly Co., Marmalade, Moby Grape, and Sweet!

Available in multiple colors and styles: choose from men and woman’s American Apparel Tees, long-sleeved shirts, hoodies, kid’s wear, and more! Visit the store›

Where’s That Confounded Bridge?
A Rock Listener’s Guide to Exploring Jazz

Growing up with rock, I heard some of my favorite bands incorporate jazz into their sound. From The Stones’ heavy use of brass in the mid-seventies to the The Dead’s free-form improvisations and the jazz-infused rock of Zappa and Traffic, the influence of jazz was all around me. Meanwhile a bridge from the rock section to jazz remained elusive. I owned the prerequisite recordings: Miles’s Kind of Blue and Brubeck’s Take Five, along with a handfull of jazz-funk classics like Herbie Hancock’s Headhunters. While these records served as a decent introduction, the real appeal of jazz still mystified me and free jazz made me cringe in terror. Ornette Coleman would have quickly send me running back to the sanctuary of my Kinks records.

I decided to make an effort to broaden my knowledge and appreciation for jazz. I temporarily set aside my cherished rock records, emptied my iPod of all that I knew and loved, and I proceeded to feed myself a steady diet of things jazz: from big band and bop, to free-jazz and fusion. I knew that I’d walk away from the experiment with some new insight and possibly even rekindle my romance with rock & roll after our trial separation. My real hope was that I might unlock some of the mysteries of jazz and discover some new favorite artists and albums and I did! My feelings towards jazz slowly changed from curiosity to an insatiable appetite for all forms of the genre. I quickly learned that jazz, like rock, is a broad term with many definitions. Several of the artists (Ornette Coleman included) that initially caused me to scramble for my mute button have since become favorites. As this new language became more familiar I began to hear beauty where once I had heard noise.

For the purpose of this guide, I’ll concentrate on some of my very early favorites: All of these suggestions are experimental while remaining accessible. All of them are heavily influenced by other genres including Rock, World Music and R&B, making them early examples of fusion before that term came to mean its own genre. Collectively these records created a bridge to a world that I’m still exploring today and all of them reserve a special place in my increasingly eclectic music collection:

1. Yusef Lateef The Blue Yusef Lateef (1969). If there was ever an album to sum up the true meaning of the term “fusion”, it would have to be this one. Multi-reedman/instrumentalist Yusef Lateef blended together this collage of world music, R&B, jazz, rock, gospel, and of course the blues and came up with this astounding piece of work. With the strange instrumentation alongside some great sidemen, this album continues to evolve. From the opening track, “Juba Juba” – ghostly female vocal chants in the background of a pounding drumbeat and crying harmonica that beckons the blues in its purest, to the crazy vocal scatting and frantic flute fluctuations of “Moon Cup”. Another bonus is guitarist Kenny Burrell, who shows up with some gritty and swinging licks throughout. There’s something for everyone on this exceedingly overlooked and esoteric record.

2. Rahsaan Roland Kirk Inflated Tear (1967). The blind, multi-reedman (sometimes playing several horns at once!) covers a broad spectrum of styles on this record and is considered by many to be his masterpiece. Set aside any preconceptions you have about jazz and strap yourself in. This record is a wild ride!  Inflated Tear incorporates New Orleans roots, swing and bebop, call and response blues and gospel, double sax playing, and strange whistle noises, and the abstraction of the 1960s and 1970s avant-garde.

3. Les McCann Layers (1973). This is one of McCann’s more experimental records offering a smooth funkiness (Lets Play) juxtaposed alongside some eccentric tone poems performed on the moog synthesizer (Interlude) creating a soulful, psychedelic mood. All of the elements on this album still sound fresh while expertly blurring the lines between jazz, rock, and soul. Equally impressive is that McCann plays nearly every instrument due to his new found passion, the Arp 2600 Synthesizer.

4. Gabor Szabo Dreams (1969) Hungarian guitarist, Gabor Szabo, reaches a creative high on Dreams, a psychedelic-tinged, jazz-rock hybrid that will definitely please the rock listeners reading this guide. The record features a combination of rock covers and jazz originals along with the interesting flourishes of Hungarian and Indian melodies that would resurface throughout his career. This is a beautiful, haunting record and the Aubrey Beardsley-inspired artwork on its cover suits the mysterious music inside perfectly.

5. Miles Davis Jack Johnson (1971). This is a given for any rock-based jazz recommendation. Davis’ soundtrack for the movie/documentary about the boxer Jack Johnson feels like you took a right hook to the chin as soon as the needle hits the wax. This record is Miles’ hardest rocking and biting of all of his electric work, thanks to John McLaughlin’s barking guitar riffs and drummer Billy Cobham’s changing tempos and R&B grooves. Herbie Hancock provides atmospheric organ textures that make it spacey and slightly psychedelic. This is a lot more stripped down than his earlier (and later) electric work and manages to swing with rocking vigor. This is a great rock record that fits in the jazz bins.

6. Herbie Mann Stone Flute (1970). This long-time Jive Time favorite is a departure for the famous, furry flautist. Known mostly for his accessible, light instrumental R&B and pop covers, Mann comes out with this trippy record; Mellow, with a dark, placid theme, this album drones and simmers with a cast of veterans. Guitarist Sonny Sharrock plays dissonant minor chords while Ron Carter aimlessly plucks and bows searching bass lines. Roy Ayers’ vibes provide a breezy element bringing irony to the melancholic feel.  It’s all held together with a small string section in the background that always seems to show up at the wrong time- in the right way. If you have to own one Mann record, this is the one.  A somber, twisted interpretation of The Beatles’ “Flying” is an interesting highlight.

7. Duke Ellington Far East Suite (1966). As the title suggests, the exotic melodies on this record will make one rethink their preconceptions of Duke Ellington and big band jazz. The King continued to explore and stay relevant into the sixties recording with exploring luminaries such as Coltrane and Mingus. As an already established jazz legend, Far East Suite is an example of how Ellington was not only a master composer and interpreter but was fearless and exploratory.  The music on Far East Suite is at the same time accessible yet sinister and noir-esque. It was also years ahead of its time rhythmically — you can almost hear hip-hop beats on “Blue Pepper (Far East of the Blues).”

For further listening: More than any other artist, Miles Davis, helped bridge the gap between rock and jazz and his entire discography is worthy of exploration. Kind of Blue and Bitches Brew get the lion’s share of the press but I prefer the spacious A Silent Way, the funky Miles in the Sky, and the dark jazz-funk-rock hybrid On The Corner (which still manages to sound unlike anything else I’ve heard before or since), along with Jack Johnson listed above. We could dedicate an entire guide to John Coltrane but his seldom mentioned Atlantic recording Olé is a Jive Time favorite and it fits neatly in this list with it’s haunting, eighteen minute title track featuring Coltrane and Eric Dolphy shaping some amazing tones around the drone and pulse of two basses. Larry Young is best known for this hard-bop recordings for Blue Note but I suggest tracking down the obscure The Lawrence of Newark on Perception, one of the finest examples of jazz-rock fusion I’ve found. Another route would be to explore ECM Records’ catalog. ECM sometimes gets a bad rap for straying into New Age territory , but for those interested in early examples of fusion this German label offers some of the very finest examples. (Read our guide to ECM jazz, Quiet Chaos.)

I may never have the same visceral response to jazz the way I do sentimental favorites Back in Black, Exile on Main St or Village Green, but I enjoy jazz in a much different way. Jazz relies less on immediate accessibility, it challenges the listener, leaving it open to the individual’s own interpretation. Best of all, my exploration of this vast genre has recaptured some of the excitement that I experienced when I first discovered rock and punk as a teenager. —David

John Prine “John Prine” (1971)

People who don’t listen to country music much tend to consider John Prine a country artist, it seems, while people who do listen to country music consider him a folk artist. I guess non-country fans are taken by how country-sounding this music is; and I guess country fans are taken by how un-country these lyrics are. This could be called country music in retrospect, but Nashville didn’t put up with songs that deal with the subjects Prine wrote about. Still doesn’t, in fact.

Some singer-songwriters of this era wrote both funny songs and serious songs. Jim Croce did it. So did Prine’s pal Steve Goodman. And Jimmy Buffett. But Prine was different–he somehow blended his humor together with his more serious sentiments, rather than separating “funny” songs from “serious” ones. It’s uncanny, really.

For instance, “Illegal Smile” is completely goofy, but its message–that marijuana is fun and makes him happy and should be legal–is crystal clear. “Sam Stone” is a devastating depiction of a drug-addicted vet who unravels after the war, yet Prine makes it subtly funny the way only he could. Is there a better, funnier way to describe a junkie parent from a child’s perspective than the line, “There’s a hole in daddy’s arm where all the money goes”? Just about all these songs make you laugh but also make a point or at least tell a good story. —Rocket88

Bob Dylan “Street Legel” (1978)

“Street Legal” might be the most underrated album I’ve encountered yet. It contains some of the most urgent, artistically triumphant, thoroughly stellar, and endlessly ruminating poetry-music of Bob Dylan’s career. After purchasing this album, I had first considered it a guilty pleasure of mine. This is, of course, because I had read endlessly about how dismal it was. Still, there was a certain unpleasant odor about all of these reviews that had led me to cultivate my own opinions.

To begin with, the album contains perhaps four of Dylan’s major triumphs. These are “Changing of the Guards,” “No Time to Think,” “Senor (Tales of Yankee Power),” and “Where Are You Tonight?.” In my opinion, these compositions stand alongside his better appreciated classics such as “Idiot Wind,” “Desolation Row,” and “Blind Willie McTell.” In these songs, he employs surrealistic, deeply layered, and biblically allusive language to express his exasperated internal state–torn between the deterioration of his spiritualistic love for Sara, a decadent hedonism, and a vision of salvation through god’s mercy. I don’t think that Dylan was ever more mentally agile and artistically focused then on “Street Legal’s” recordings. The rest of the songs, although minor in comparison as poetry, are equally essential parts of this fluid and balanced album. Songs like “Baby Stop Crying,” and “True Love Tends to Forget” take us from the surreal, intellectual landscapes of the major songs directly into the turmoil of the character as he moves closer and closer toward the “Slow Train.” They all play out like scenes from a movie, and are successful in the same way as much of “Blood on the Tracks.”

As for the music, Dylan is performing with one of the finest ensembles of his career. The band captures the spirit of the writing wonderfully and adds to it even more richness and complexity. I also love how the Gospel sound of the background singers seems to capture the religious forces at work, while the sleazy Las Vegas feel of the horns evokes the temptations of lust and hedonism. This is a dense and demanding body of music. —Jeffrey