Category Archives: editorial

WTF Album Covers: The Depravity Of Man

Boy, those evangelical album covers really know how to sell you on the idea of listening to them all the way through, don’t they? I am fully in favor of the depravity part, and the figure on the cover of this horror certainly looks prepared to indulge in some, too. The cross looming behind him seems more than a bit…well, ready to join in.

The New Birth bit I have extreme reservations about, don’t you? I prefer MY depravity procreation-free, thanks. Not sure what’s going on with the flames on the lefthand side of this album cover–is that to keep everyone from getting the goosebumps whist enjoying a bit of debauchery?

The real trouble with albums like this is that the preachers are under some kind of misguided notion that depravity is a BAD THING. Ahh, well. There’s no arguing with ’em, especially if you’re too busy fending off their unwanted advances, spiritual or otherwise. “Methinks the lady doth protest too much” and all that.

I don’t own this but would love to purchase one…got one to sell? Get in touch 🙂

–Joe Wallace

AM & Shawn Lee Interview

AM & Shawn Lee collaborated on 2011’s Celestial Electric, released digitally and on vinyl on the most excellent ESL label. We’ve covered ESL artists before–most notably Chris Joss who is still cranking out amazing retro grooves like nobody else can. (Joss released a fantastic new album, “No Play, No Work” in October.)

The AM & Shawn Lee collaboration has a lot of  analog synth texture to it, which always sounds great on vinyl, but there’s also a heavy singer/songwriter vibe–Nilsson meets Gary Numan Uptown?

The Numan reference is probably too doomy for this album until you get to tracks like Dark Into Light, which is a bit heavy handed on the rhyming, but arguably one of the best cuts for lovers of heavy, low end synth.

Turntabling interviewed AM & Shawn Lee by e-mail just before they started their new tour (details at the end of the interview).

First-a bit of background. Tell us a bit about AM & Shawn Lee, how things got started and what’s going on now.

Shawn Lee: Well, according to legend, AM emailed me after hearing my music on the radio in LA. This is true! I emailed him back.  We stayed in touch with cyber exchanges. I played on one of his tracks. When he came to London we hung out at my studio and I went to his gig. We hit it off… I later came to LA to play some live shows. I invited AM to sit in with my band on a couple of tunes. He did! We hung out more. We listened to records. We bonded…I said “We should make a record together”! He said “yes”! We did!!

This may sound obvious given the state of the music biz at the moment, but how did you decided to start releasing things on vinyl as opposed to the easier, more cost effective route of digital-only sales?

Shawn Lee: Well we were releasing in the obvious digital formats anyway. We are both fans of vinyl and it was clear to us that this album would have to be on wax. It smells lovely!!!! Nothing sexier than 12 inches of round platter, baby!

Do you find that the vinyl format serves some of your music better? Thinking of the Gary Numan-esque synth tones on tracks like Dark Into Light where the analog format would definitely favor those textures…

Shawn Lee: You can’t beat the sound fidelity of new properly cut vinyl. It ain’t a record til it’s a record- you know what I mean?! Not to mention it’s a great visual package as well.

Technically speaking, what was your major challenge of putting out digital and vinyl formats?

AM: Well the most obvious thing to do is have it remastered for vinyl…which we did. This is very important. We also re-did the artwork layout wise. We did a gatefold vinyl so we had more space to work with. Andy Votel (Finders Keepers) was kind enough to do all the artwork which is amazing. George Horn mastered the album for vinyl.

What is it about turntable culture that keeps it alive after all these years, in your opinion–sound quality aside, what attracts you to vinyl as a format not only for releasing music but also collecting?

AM: I think the main reason is that it is so tangible. It’s big and requires you to really put attention into artwork and layout. The 60s and 70s were such a magical time for that because so much went into the photograhpy, artwork, layout and liner notes. There was a certain pride in it.

I think that is coming back because many of us look back on those types of records and want to give our record the same love and sense of pride and detail. Oh wait, you asked about sound! Ha ha. Well, vinyl just is. Nothing sounds like it. The highs have a certain crispiness about them and the lows are so warm and full. But I personally think the resurgence has more to do with aesthetics than sound.

Any plans to stick with vinyl for future releases? Or is this more an experiment for you? What’s your experience been with vinyl as a format for the new album, and how do you like how it’s doing so far?

Shawn Lee: Yes we plan on releasing future records on vinyl . The CD as a format is dying out but vinyl continues to live on. As far as physical formats go, Records are the real deal. Vinyl is final….

Give us some dirt on working closely with Thievery Corporation and how do you like the ESL family?

Shawn Lee: Thievery are like a rock and roll circus! Long hair, spliffs, Jack Daniels, yoga! It’s an interesting mix. I’ve known Rob Garza for many years now and he is one cool dude. Everybody in their band was super nice and it was a great experience all round.

AM: Touring with Thievery Corporation was pretty classically rock n’ roll and they were super cool. They watched our show every night. That says a lot. After our last show with them in Oakland they had an after party at a club down the street. We walked in and Rob Garza was upstairs in a private area surrounded by different folks.

He asked if I wanted a drink and I noticed he had  a Corona. I was like “sure, I’ll have a Corona.” He made a motion to someone and 10 min. later an entire tub of Corona showed up along with a couple bottles of tequila. I was like “oh yeah.”

AM & Shawn Lee are currently on the Dark Into Light Tour which ranges from New York, Chicago, Ohio and elsewhere in the US, all the way to Quebec. Get tour dates and info at AMSounds.com

Dust And Grooves In Turkey Part II

Eilon Paz, vinyl junkie and photographer extraordinaire, has another post from a visit to Turkey on his most outstanding Dust And Grooves vinyl blog.

Dust And Grooves is a Turntabling favorite–the photos are outstanding, the vinyl discussions are always interesting, and it’s a real anomaly in the world of vinyl blogging. Turntabling’s tagline includes the idea that vinyl is more of a lifestyle rather than a simple format choice, but it has to be said that Dust And Grooves does a MUCH better job of conveying that notion through pictures and interviews.

The album cover pictured to the left is fabulous–want to find a copy of that for the Turntabling Collection. And that’s another thing that’s truly awesome about Dust And Grooves–the vinyl obscurity factor is very, very high. Every time y0u find a new blog post at Dust And Grooves, you can always count on seeing new albums you didn’t know existed, and that’s a wonderful thing.

–Joe Wallace

WTF Album Covers: The Everlasting Horror of Wendy Bagwell

I don’t know who Wendy Bagwell is, but the utter horror of these album covers is plenty, thanks. Suitable for framing. In HELL. Look at those grotesque rictus grins! Who was applying the leeches during this photo shoot? And more importantly, WHERE? Not to mention the utterly Beavis & Butthead snickers the album title lends itself to.

But wait, the horror doesn’t stop here! More awfulness…