Third one of the day! #Soulfly and #Chama thus little beauty in on #limitededition #yellowvinyl and is a cracking #album #recordcollector #recordcommunity #recordcollection #Yellow #Burning
This is where we start to revert score-wise to the original NoES. Gone are the lush scores of Charles Young and, I gotta be honest here, I’m a little torn.

The original NoES score is iconic. It’s moody and spooky and definitely of the time. But I discovered through listening to these that I actually REALLY like hearing wildly different scores for the movies. They give them such a unique flavor and, kind of like the movies, the religion of everything starts to weigh the franchise down.

I like NoES 3. I am solidly a 1, 2, 3, and New Nightmare kind of guy. 4-6 were wildly weak, derivative, and don’t stand up to multiple viewings. At least for me. Maybe if New Line had given writers time to make better scripts or invested a little more money into the #1 cash crop, but no. By then they were just cranking them out as fast as they could and it shows.

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The story goes something like this: Christopher Young, seeing the script and budget of the movie knows odds are low that the movie’s going to be very good so he goes all out writing a HUGE score to try to compensate. And when he runs out of budget for it, he uses his own money to finish it off.

If this is true, it’s very thoughtful of him.

NoES 2: Freddy’s Revenge is a weird one. Franchises as we know them today - hell, as NoES helped establish - weren’t really a thing yet so there was less emphasis on the rules of the universe.

The vibe here was “Writer, it’s about a child predator that kills teens in their dreams,” and they just let him go from there.

And for the longest time, this was considered the worst entry - an unfair opinion (we’re just going to blow past Freddy’s Dead?) but a VERY common one.

Because it was gay.

The kills are good, the body yea formation is good, the story’s good.

There were issues with the idea that a small guy running around in the real world, even with finger knives, could kill so many young and fit people, but the core complaint was the underlying homosexuality of the characters.

Personally, I wish they had leaned in way more and had Jessie realize he was gay. It would have made his friend’s death so much more impactful and fleshed out his character more because, as it stands, he’s pretty damn gay until the last five minutes or so.

But it was the 80s, you know? If you wanted your horror movie to… make a killing (heh) at the box office, you maybe don’t lean so far into what was considered a niche audience.

At least NoES 2 is getting reevaluated by fresh eyes and is finally getting the appreciation it always deserved.

AND the score is great!

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My record budget is on the small side. $50 per paycheck. Normally this means a couple records per month or, like in this case, I buy a great big box set of all the scores from all the Nightmare on Elm Street movies (except for FvJ and the remake), and go deep, deep into the hole and wait months until I’m back in the black.

Pretty worth it, though. For one thing, the art on these covers is amazing. Especially the backs of them (which I was inclined to post but just couldn’t live with the extra clutter on an image indicating more photos are attached). The production is good, and it’s very interesting to hear how different composers interpret the series and need for scores.

Well… really it’s just this, Christopher Young’s huge symphonic score, and five people trying to rip Bernstein off.

We’ll get into that later.

For now, the reason I bought this in the first place was because this is the only score that ever really creeped me out. It wasn’t the vocal stingers included (not a fan), but the echoes that really did me in. The electronic drum hits and then it echoes down a hall into your fuckin’ nightmares.

You know what it reminds me of? You remember White Zombie’s “Electric Head Pt 1”? With the vocal swells right before the industrial drums start?

That. This reminds me of that and that ALSO freaks me out.

No clue why exactly, but it does so when I saw this box set standing all alone in a record store that specializes in video game soundtracks, I knew I had to buy it.

It just had to happen.

Was it worth it?

Ehhhhhh, the art IS really good and some of these scores are pretty fantastic but we’re talking 3/7 - MAYBE 4/7 are great and that’s a horrible ratio when you’re talking about this high of a price.

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Not to fall into hyperbole, but this is one of the most important albums I have ever heard.

People REALLY like Suffer and I don’t blame them, but this album came at just the right time in my life. I was depressed from work, politically frustrated, disenfranchised with the trappings of capitalism, and had an overwhelming loneliness in the world.

I wasn’t in a good place.

And it’s not like this album put me in a better place per se, but it sure as hell made me feel less alone.

I love it. There’s no other way to describe it. Greg Graffin’s lyrics are sharp, sarcastic, and angry but, unlike SO many punk bands, it doesn’t stop there. There’s a sense of hope to Bad Religion that I don’t see enough people harp on.

There’s way I look at it, the core of punk (not just music) is a dissatisfaction with where we are as a society and a desire to make it better. That’s why you always hear people harping on community when it comes to punk.

To me, it’s about making the world a better place and this often DOESN’T include burning it down. It’s all about kindness and helping the people around you stay alive, stay hopeful, and stay in the game.

There’s a lot of anger in punk for sure, but the stages seem to go: dick and fart jokes as a dumb kid, anger at the world for being unjust, and then anger at the world for being unjust and actually trying to make it better. To recognize nuance.

A lot of bands get stuck in the first stage but I feel like most of them get caught in the second and oh-so-very few make it to the final evolution.

But Bad Religion did and we’re all better for it.

Diogenes would be proud.

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I had a roommate in college who was all about pirating music and, ethical matters aside, I will say that it was pretty brilliant for the ability to hear demos/studio cuts/leaked material. Before Good Mourning came out, leaked tracks came out where the bells were WAY forward and, honestly, I preferred it.

I also found myself paying way more attention to production stuff so say what you want about piracy - it really inspired me to pay more attention to music.

Anyway, beyond the standard stuff, Alkaline Trio also had a TON of live tracks on the high seas right next to their acoustic versions.

Alkaline Trio songs go great on acoustic. There’s a moodiness that fits but also an… intimacy. Their songs are confessional without being cringey and full enough to not sound hollow when you take away distortion.

They really are great songwriters.

So I was STOKED to find a whole album of acoustic reinterpretations of classics and two new songs (one of which was fun and the other a shining reinforcement to the idea that, unless you’re Ween, rock bands should avoid country-fying songs).

I could listen to the album any day. I love it.

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When NOFX’s Coaster came out, I was blogging about guitar and music. I emailed and requested an interview with El Hefe and didn’t expect much. Not a lot of people granted interviews, especially by email volleys, but I had some success here and there so I figured I would try.

And he said yes.

We bounced emails back and forth and I got a pretty decent interview out of it for an amateur blogger operating out of his bedroom in a desperate attempt to distract himself from dissatisfaction with work and a growing clinical depression.

But the reason I didn’t expect a reply wasn’t because I was bad at blogging or small. I’m not awful at writing and consistently ranked in the top 5-10 guitar blogs in a time when blogs were pretty big.

No. It was because NOFX didn’t do a lot of press. They hadn’t done a lot of press since making that decision a while after Green Day’s Dookie was released so I was blown away when anyone responded - let alone said yes and endured my multiple emails asking questions.

El Hefe was nice enough to talk to a young guitar player running a blog out of his bedroom.

I don’t think you can get much more punk than that - than supporting and nurturing someone’s aspirations when you can. I was beyond grateful and will constantly talk up NOFX for this reason.

Sure, they wrote great songs and you could absolutely see why even with short songs they were able to fill up two records with their strongest material, but more than that - to me - I love them because they’re the real deal. They are the best kinds of punks and I’ll always love them.

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Remember how I was saying that Alkaline Trio, Bad Religion, Tiger Army, and Tool all get a pass for albums that don’t hit hard for me and I’ll buy them regardless because my love for the band is greater than one miss?

This is that Alkaline Trio album.

I think I’m the weird one here because I kept seeing my friends say this was their “return to form,” but I just didn’t see that.

I’m certainly glad it came out, though. They had never gone five years between major releases before (and then followed up that stretch with SIX years between this and Blood, Hair, and Eyeballs) and I always kinda worry that a band that has so many side projects have a ticking countdown where they have to get back together by X or just settle into some other project with other people.

And when I heard this the first time I had no idea that Dan Andriano had his own side project or that it was so fuckin’ good. But I definitely knew that Matt Skiba was prolific with other projects including one that sounded an awful lot like Alkaline Trio but without Dan’s magic.

It’s not like this album is BAD, either. It just struck me as nothing really to write home about. The hooks weren’t super strong, there wasn’t a lot of experimentation, and the songwriting felt more… standard.

Out of all Alkaline Trio’s albums - hell, even their EPs and collections like Damnesia or Remains - this is the one I listen to the least.

And, again, I’m pretty sure I’m the weird one here.

It doesn’t matter, though. These guys could release anything and I’d buy it. They’ve just been my favorite band for so long, seen me through so much, that there’s no way a couple bad releases would throw me off.

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When I started collecting records, I was solidly thinking that I was only going to collect gold. I would vet the albums online and then buy the truly good stuff.

There were exceptions. A couple bands get a pass for albums that don’t hit so hard (with me) in the name of collection completion.

Namely, Alkaline Trio, Bad Religion, Tiger Army, and Tool. All of these bands have had albums that just didn’t connect with me but I love the band to such a high level that I still want their stuff on my shelf.

This is one of those albums.

Again, this is just my opinion. If you like this album (or any album I don’t particularly enjoy), I’m not going to say anything. Like what you like.

I even keep my mouth shut when people say they like Mike Patton and his various bands/projects and he’s probably my least favorite musician/creator I have ever come across in my entire LIFE.

Enjoy what you enjoy.

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