Hori Smoku - Sailor Jerry

Hori Smoku Sailor Jerry is a feature length documentary exploring the roots of American tattooing through the life of its most iconoclastic figure, Norman "Sailor Jerry" Collins. Considered by many the foremost tattoo artist of all time, Collins is the father of modern day tattooing, whose uncompromising lifestyle and larger than life persona made him an American legend. Through rare interviews, photographs and hours of archival footage, Hori Smoku Sailor Jerry: The Life and Times of Norman Keith Collins, explores the past, present and future of the global tattooing phenomenon.
Based in Honolulu for most of his career, Sailor Jerry would come to symbolize the masculine ethos of a time when thousands of enlisted men were embanked in Hawaii, during World War II. Miles from home, ready to die, and fueled by devil-may care attitudes, these men went on shore leave with a single purpose in mind: to get "Stewed, Screwed and Tattooed."
Jerry marked these men with what would come to symbolize a new style of American folk art; tattoos that blended traditional elements of continental motifs with the finesse, shading, and artistic nuance of the Japanese tattoo masters, known as horis. Borne from his own years of travel on the high seas, Jerry synthesized the best of East and West and created a dynamic, spectacular new art form by introducing an array of his own advancements into tattooing, from color creation and machine building to the introduction of sterilization. Permanently etched on the bodies of the hundreds of men who passed through his Honolulu parlor, his work tells of war and heartache with a dedication to style, craft, and detail that would make 'Sailor Jerry’ one of the most influential, if little recognized, American folk artists of the 20th Century.
A man of many faces, Jerry was an intelligent, dark humored prankster with a fiercely independent mind. A pitiless, right wing, social libertarian, Jerry believed in freedom with a capital 'F' as symbolized by the secretive, closed world of back alley tattooing - or as he put it, "the ultimate rebellion against the squares."
In this film, the first of its kind, Sailor Jerry’s story and mystique is explored in depth through interviews with his peers and those he influenced, like protégées Don Ed Hardy and Mike Malone. Through their stories and shared memories, a dynamic tale is woven that chronicles the story of a great American artist whose work has never been displayed in museums, but on the bodies of those brave and fortunate enough to serve as Jerry’s canvas.



Hori Smoku / Sailor Jerry / Sailor Jerry @ Wikipedia

Coil - Unreleased Hellraiser Soundtrack (1987)

Hellraiser is a 1987 British horror film exploring the themes of sadomasochism, pain as a source of pleasure, and morality under duress and fear. It is based on the critically acclaimed novella The Hellbound Heart by Clive Barker, who also wrote the screenplay and directed the film. In the UK, the film is titled Clive Barker's Hellraiser. It is the first film in the Hellraiser series. Seven subsequent sequels followed with a remake of the first announced in 2007.
Clive Barker originally commissioned a soundtrack for Hellraiser from the industrial band Coil. The music they supplied was rejected, and Christopher Young provided a more traditional orchestral score for the finished movie. Coil's score, which was apparently described by Barker in a complimentary manner as being "bowel churning", has been released in isolation as The Unreleased Themes For Hellraiser and as part of the compilation Unnatural History II (CD) (1995).
Coil's original theme was later covered by the Italian black metal band Aborym on their debut album Kali Yuga Bizarre
The Unreleased Themes for Hellraiser (subtitled The Consequences of Raising Hell) was the fourth album that Coil released in the year 1987. The album was released on the CD, cassette and 10" vinyl. It was the proposed soundtrack to the film Hellraiser. A common misconception is that this version was deamed "too scary" to use, however in all actuality it was turned down because it was not considered commercial enough by the studio. The following quote by Cliver Barker, which was included on the album cover to the vinyl version, may have helped to perpetuate this myth: "The only group I've heard on disc whose records I've taken off because they made my bowels churn"
A-side tracks from the 10"/cassette version and all tracks from the CD version later appeared on the Unnatural History II compilation. B-side tracks from the 10"/cassette version later appeared as a single track on Unnatural History III.
This is the only release on the record label Solar Lodge, with catalog number COIL 1. The cassette version was licensed to Soleilmoon and released in 1990, with catalog number SOL 4. The cassette features a different cover than the CD and vinyl release.

10" Vinyl & Cassette Track List: Side A: "The Unreleased Themes For Hellraiser": 1. Hellraiser, 2. Box Theme, 3. Main Title.
Side B: "Music For Commercials": 1. Airline 1, 2. Liqueur, 3. Perfume, 4. Video Recorder, 5. Airline 2, 6. Natural Gas, 7. Cosmetic 1, 8. Cosmetic 2, 9. Analgesic, 10.Road Surface, 11.Accident Insurance.
CD Track List: 1. Hellraiser Themes, 2. The Hellbound Heart, 3. Box Theme, 4. No New World, 5. Attack of the Sennapods, 6. Main Title.
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I NEED THAT RECORD!!!

"I Need That Record" is a documentary feature examining why over 3000 independent record stores have closed across the U.S. in the past decade. Are they going to die off? Will they survive?
Since the 1890s the record store was THE place to go for prerecorded music, but today the way we access and consume music has been redefined by technology. Ecommerce, iTunes, the iPod, P2P networks, music blogs, and social networking sites have all had a profound impact on the way we access music and on the state of the independent record store. Downloading and pirating seem to be the easy answers to the chaotic state of the music industry, but higher powers like major labels, big box stores (Wal-Mart, Target, Best Buy etc.), and corporate owned FM radio are also shaking things up.
The music industry has always been a unique marriage of art and commerce, but today commerce has proved to be the ultimate influence. Rather than develop great acts, embrace new technology, offer affordable products; the major labels are more concerned with turning the clocks back to preserve old business models - with only one thing in mind - THE BOTTOM LINE.
Keep the full paid expense accounts and 7 figure incomes. Keep suing fans. Keep shoving bland music down people's throats that will sell x amounts. Keep producing homogenized radio programs that play the same 50 songs. Keep supporting big box businesses that could care less about music; businesses that sell music below list price. Keep screwing the consumers and retailers who love and care about good captivating music. Squash new ideas, new innovations, and new possibilities as the future of recorded music, a commodity that supports the artist, vanishes.
While it would appear that the internet is the new force for musical discovery and delivery independent record stores have been, and still are a strong force on the musical experience.
Record stores serve as important community spaces that provide foundations for new musical and artistic scenes and movements, a place where unique under the radar bands have been continuously supported, a place where the underground can thrive, a place where independent thought is encouraged and challenged, a place where people of different ages, races, and taste can mix and mingle face to face.
Unlike the internet, physical stores are a real place, with real people, where community is formed and supported. Not just record stores, but original mom and pop main street stores are all in a fight to stay alive. Independent businesses are hubs for new jobs, new innovations, and creative thought.
Over the past ten years it has become increasingly harder to compete with big chain businesses that have big money and Congress protecting them. The rich and powerful in business and government have thrown a wrench in the wheels of progress. American culture has become more isolated and atomized as a result of homogenous culture and thought. Businesses and establishments that make different parts of America distinct from one another are disappearing. In order to save community, ourselves, and our world what we need are independent creative places where new ideas and thought can be nurtured. Not more of the same...
Through found footage, expository voice over, talking head interviews with artists, musicians, retail owners, and animation "I Need That Record" will tell the story of our connection to independent record stores and the importance of independent thought and culture. What happened to the stores and what will the future bring...

Some interviews include: Thurston Moore of Sonic Youth, Ian Mackaye of Dischord Records Fugazi/Minor Threat/Teen Idles, Patterson Hood of Drive-By Truckers, Chris Frantz of the Talking Heads, Pat Carney of the Black Keys, Mike Watt of the Minutemen/reunited Stooges, Noam Chomsky, guitar composer Glenn Branca, punk author Legs McNeil, rock photographer Bob Gruen, Bryan Poole guitarist of Of Montreal, Numero Records, Rhino Records, Bloodshot Records, United Record Press (the largest vinyl plant in the U.S.), and many many many indie stores across the U.S. (NYC, Boston, DC, Cleveland, Detroit, Ann Arbor, Chicago, Minneapolis, Memphis, Nashville, L.A.).

I Need That Record Blog

Burt Bacharach - Butch Cassidy and The Sundance Kid (1969)

Not really a rarity or an album that's difficult to get, but it's the soundtrack to my all time favorite movie - Butch Cassidy and The Sundance Kid.
"Butch Cassidy and the Sundance Kid is a 1969 Western film that tells the story of bank robber Butch Cassidy (Paul Newman) and his partner The Sundance Kid (Robert Redford). The film is only loosely based on historical fact, but it popularized the legends of these Western icons.
The film was directed by George Roy Hill and produced at 20th Century Fox by John Foreman from a screenplay by William Goldman. The music score was by Burt Bacharach and the cinematography by Conrad L. Hall. Along with Newman and Redford, the film stars Katharine Ross, Strother Martin, Henry Jones, Jeff Corey, Sam Elliott, Cloris Leachman, Ted Cassidy, Kenneth Mars and Donnelly Rhodes.
The film won Academy Awards for Best Cinematography, Best Music, Original Score for a Motion Picture (not a Musical), Best Music, Song (Burt Bacharach and Hal David for "Raindrops Keep Fallin' on My Head") and Best Writing, Story and Screenplay Based on Material Not Previously Published or Produced. It was nominated for Best Director, Best Picture and Best Sound".
Source: Wikipedia

Tracklist: 1. The Sundance Kid, 2. Raindrops Keep Fallin' On My Head (B.J. Thomas Vocal), 3. Not Goin' Home Anymore, 4. South American Getaway, 5. Raindrops Keep Fallin' On My Head (Instrumental), 6. On a Bicycle Built For Joy (B.J. Thomas Vocal), 7. Come Touch the Sun, 8. The Old Fun City (N.Y. Sequence), 9. Not Goin' Home Anymore (Reprise).
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