Harry Nilsson “Nilsson Schmilsson” (1971)

It’s the hallmark of a truly talented popsmith to make a collection of songs this weird and diverse so remarkably palatable. Nilsson is nothing if not inclusive, but he doesn’t pander. A lot of folks will know “Coconut” from Reservoir Dogs, and while that little island oddity is indicative of the adventurousness of the album as a whole, it isn’t indicative at all of any other track. Nilsson un-ironically employs strings, horns, rock guitar, mellotron and whatever else he thinks will do the songs justice, whether they’re his own or one of the three covers. It’s easy enough to let the perfectly crafted sounds waft on by with a smile, but the more I think about them, the more the depth is evident. –Lucas

Mission of Burma “Signals, Calls, and Marches” (1981)

Along with early Pere Ubu, Wire, and the Fall, Mission of Burma are on top of the post-punk heap anticipating Husker Du, Sonic Youth, Fugazi, and a whole lotta other stuff that's made music worthwhile in the last 30 years. Harnessing arty punk noise abandon to a firmly footed garage rawk, and throwing in enough hooks to snare your pop instincts and sonic left-turns to keep you guessing, there are few groups I can think of who made more bracing music in this very bracing period: the aforementioned luminaries rarely topped 'em, if ever. In fact, I'm not sure anyone can top the opening track on this record: it's been covered to death, but the original is timeless. Fortunately, their well-received reunion has resurrected their two essential early releases from obscurity. Get them both today. –Will

Mission of Burma “Vs.” (1982)

A densely visceral piece of post-punk that manages to evoke a whole spectrum of moods with limited means, I would say this is as important as early Sonic Youth and Husker Du but better than both; as challenging as any of the most difficult work of Wire or Pere Ubu, but less pretentious; as abrasive as the UK’s industrial scene, but a whole lot more fun; hypnotic, like Krautrock, but never usable for ambience; and as meat ‘n’ potatoes as the Ramones. No one quite sounds like this group, who serve up a very noisy piece of rawk that anticipates both grindcore (but slower) and shoegaze (but rougher). Empty genre-bending this ain’t, however. I’ll say it’s one of the half-dozen or so best guitar records of the 80s, especially because, without it, Daydream Nation (one of its only peers in the underground) probably wouldn’t exist. –Will

Herbie Mann “Stone Flute” (1970)

One of the pleasures of working in a record store are those quiet weekday afternoons when you can randomly throw on weird records in hopes of unearthing a buried gem. Stone Flute is one of those gems! It’s also a far cry from the middle-of-the-road soul-jazz I generally associate with the furry Mr. Mann. (For all it's guilty-funky pleasure, this is no Push Push.) It’s one of the few records Mann recorded for his own Embryo label which is known for its moody, trippy jazz and jazz-rock and Stone Flute is no exception. A few standout tracks are the spacious, Eastern-inspired Donovan cover “In Tangier,” and the absolutley jaw-droppingly beautiful version of the Beatles’ “Flying,” which somehow manages to be even trippier than the original without sounding dated. If that’s not enough, the experimental “Miss Free Spirit” features jazz gods, Sonny Sharrock, Roy Ayers and and a pre-Weather Report Miroslav Vitous in top form! The album features spacious arrangements that are difficult to digest properly with a quick listen, give it a thorough spin and you’ll discover a totally unique Herbie Mann record and one that any fan of late sixties/early seventies jazz and especially fusion-era Miles will likely enjoy. –David

Lou Reed “The Blue Mask” (1982)

After a dispiriting early-’80s slump at Arista Records, Lou Reed renewed himself artistically by changing labels and releasing The Blue Mask on RCA in 1982. This was a brave move, since The Blue Mask is a resolutely uncommercial album, making no concessions in either its stark, flatly recorded ambience or harrowing themes. However, grace notes abound for the patient listener. Performing with a no-frills setup for the first time since the Velvets, Reed keenly matches words and music with the sparest of means to achieve the maximum end. The Blue Mask pits a hard-earned contentment (“My House,” “Women”) against the dizzying abyss lurking beneath the surface of life (“Underneath The Bottle,” “Waves Of Fear” and, most compellingly, the awesome title track itself). Running through all this, Reed and second guitarist Robert Quine intertwine their instruments, sustaining meditative interludes and codas which are closer to jazz than to rock. Bassist Fernando Saunders’ vibrant tone and supple lines also add a new element of flexibility to Reed’s music, and his gentle falsetto backing vocals make a nice contrast to Reed’s famously edgy song-speech. (Joe Sarno, Muze) –Singer Saints

Tiny Tim “God Bless Tiny Tim” (1968)

A walking freak show and the ultimate novelty act of the '60s. But behind Tiny Tim's fruity falsetto antics lay a genuine love of his material, most of it taken from the 20’s - an equally odd time in popular music--before the rise of Bing Crosby--when nearly all white male vocalists were no-voice freaks. I can't honestly say that Tim's debut LP survives its own novelty value in the end. But it's a well-produced smorgasbord of highly entertaining moments complete with genuine hilarity ("The Viper") and some genuinely touching performances as well, especially the ones done in the singer's natural baritone (Gordon Jenkins' "This Is All I Ask," "Then I'd Be Satisfied with Life.") Another curiosity: why was this kind of faux-vaudeville so popular in the '60s? Does anybody remember "Winchester Cathedral"? In that sense Tiny Tim fit right into his times. During the late '50s and early '60s when he performed at Hubert's Museum (singing Don Gibson's "Oh Lonesome Me" underwater) and appeared in Jack Smith's Normal Love, he was merely freakish. –Singer Saints

Herbie Hancock “Mwandishi” (1971)

Like a lot of early 70's fusion, this is highly indebted to Miles Davis’ In A Silent Way and Bitches Brew-era work, combining elements of funk, jazz, and avant-garde with Herbie’s own love of electronic keyboards and primitive synthesizers, low on melodic content but high on atmosphere. His work would get progressively funkier as the years went on, but Mwandishi’s three lengthy tracks are concerned more with creating an otherworldy vibe aimed at your head more than your feet. “Ostinato” emerges out of a spacey haze and rides a funky bass riff for much of its duration, a vehicle for a lengthy electric piano solo and propelled by some exotic percussion. A mellow, sleepy backdrop with washes of echoed electric piano and trumpet flourishes carries “You Know When You’ll Get There,” maintaining a quiet mood, though the band occasionally comes together to play a brief melodic figure, while “Wandering Spirit Song” tempers a similar vibe with frequent bursts of free-form noise. Mwandishi comes recommended to anyone with a love of fusion in the days before it largely morphed into a funk/rock showcase for virtuoso soloing. –Ben

Charles Mingus “The Black Saint and the Sinner Lady” (1963)

Charles Mingus had always incorporated elements of modern avante-garde composition into his bop-esque and free-jazz/avant garde work while holding himself firmly within the jazz idiom. Here, he cast aside all the restrictions of both genres and meshed the two into an unbelievably complex, and yet emotionally and musically stunning magnum opus. Unlike Mingus' previous albums, rather than being merely a showcase for different tunes which may have had little to do with eachother melodically and structurally, this cd comprises the six movements of a symphony, and the music and ideas flow into eachother seamlessly. My favorite moment comes during the third track, "Group Dancers" when, after Mingus hints at an amazing melodic figure on the piano, the full ensemble plays it in all its glory. Anyone who loves music is missing something if he or she has never heard this milestone of melodic ingenuity. –Zach

Scorpions “In Trance” (1975)

Three albums in and Scorpions are settling into an eccentric, decidedly European mix of piercing Teutonic fury and abject gothic balladry that would hallmark future Uli-era triumphs Virgin Killer and Taken by Force. In Trance features only a handful of hard rockers, but the manic, psyche-searing opener "Dark Lady" (featuring oddly appropriate lead vocals by Roth), tightly-clenched stomp of "Top of the Bill," and weird, lost in translation "Robot Man" are all stinging entries, while "Longing for Fire" stands out as an unusual, brightly melodic moment. But it's those troubled, moonlit strolls into balladry that really define the dark undercurrent of In Trance, with the mesmerizing title track, black veiled "Living and Dying," and thunderous declarations "Evening Wind" and "Life's Like a River" cementing the album under waves of isolation and melancholia. Only the lumbering blues "Sun in my Hand" hints at a loss of plot, one of Roth's weirder Hendrix tributes that's at least partially redeemed in his floating, Floydian instrumental "Night Lights" that closes the album. –Ben

The Gits “Frenching the Bully” (1992)

The Gits- Frenching the Bully has always been a very cold bone-chilling listen for me. One that no matter how many times I hear it I cannot think of what might have been for this band. Being veteran's of the Seattle scene in the early 90's these guys were some of the select few talented musicians that were poised to be huge rock stars. I really do believe that. Mia Zapata voice is like no other, she had such a passionate escape in her style of singing and a force that was undeniable. I wish Mia was still around, because I know her and the Gits would continue to give us amazing music to enjoy. At least we have this one. Frenching the Bully is a punk rock masterpiece with a furry behind it that will never die. I urge everybody to take the time to discover this band because they are truly one of a kind. –Jason

Linn County “Proud Flesh Soothseer” (1968)

I owned this album for a long while before I got around to playing it... uh, dumb move. I'd passed it over because I thought it was generic, “sweaty,” late sixties blues rock. And, though I like sweaty sixties white guy blues, I can only take so much so often! So, randomly, I finally tossed this on expecting to play it through as background once then file it away as I do (when it comes to certain styles)... uh... well, it IS blues rock, and sweaty, but its progressive blues with some heavy, very cool nods to sike. It's sike is West Coast sixties genius, but it also plays a bit like later Graham Bond without all the occult mysticism and no African flecked jazz. That said, there is a blues jam in the middle of the record thats tortured and whatnot, BUT the interplay of horns, Hammond, and the song writing makes for some super catchy, and... it's kinda DANCEABLE!? What progressive blues album can you say THAT about? –Nipper

Amon Duul II “Yeti” (1970)

For me this is one of the high points of Kosmische Musik. A sprawling double album of druggy, gothic flavoured songs and jams that never gets boring. Judging by this album it would be fair to say that, whilst the Americans and British knocked on the doors of perception in the late sixties, the Germans kicked the back door in at the beginning of the following decade. Some of the music on this LP is seriously out there. “Eye-Shaking King” is a case in point; featuring some truly heavy acid guitar work and crazed, effect laden vocals. The opening suite to the album, “Soap Shop Rock” and “Archangel Thunderbird” are other jaw-dropping moments. The latter half of the album is comprised mostly of heavyweight cosmic jams that transcend anything anyone on the West Coast of America could muster. The musicianship is truly sublime throughout this great record and is aided by the excellent wide sound created by the production team. Anyone who is intrigued by Kosmische Musik/Krautrock should ensure that this is one of their first dips into this fascinating genre. –Simon

U2 “Achtung Baby” (1991)

From the opening seconds of “Zoo Station,” Achtung Baby announces itself with a roaring crunch, signaling the end of the earnest U2 of the ‘80s. Between the Edge’s snarling, textured guitars and Adam Clayton’s blood-pumping basslines, Bono’s mood careens from sarcastic and playful to heartbroken and hung-over. Fans were immediately deeply divided, deciding that the band was either brilliant or out of their collective gourd. Nearly two decades later, the album is considered a masterpiece, packed with classics like “Mysterious Ways,” “Until the End of the World,” and fan-favorite “Ultraviolet (Light My Way).” (And let’s not forget “One,” the beautifully ambiguous piece considered by many to be the best song of the ‘90s.) If you’re among the masses who believe U2 to be nothing more than the Irish fathers of Coldplay, take a listen. I guarantee you’ve never heard this side of Bono and the boys. – Reilly

About Jive Time Records

Jive Time Records proudly celebrates it's ninth year as Seattle's premiere used vinyl destination. After nearly a decade our mission remains the same: to make shopping for used music was as much fun as listening to it! Our store is clean, colorful and well organized and features a friendly, knowledgeable staff to help you. We add fresh stock to our new arrival sections and budget bins daily so that every visit to Jive Time promises new treasures and great bargains.

There's something for every musical taste at Jive Time: Here are just some of the many genres you'll find in our store: Classic Rock, Psychedelic, Progressive, Punk, Hard Core, New Wave, Heavy Metal, Soul, Funk, Disco, Hip Hop, Reggae, World, Jazz, Blues, Country, Folk, Classical, Avant Garde, Exotica, Popular Vocalists, Film Soundtracks, Children's Records, "Incredibly Strange," and More!

USED VINYL:
Quality used vinyl is our specialty. From classic rock, soul and jazz to the most obscure corners of the underground you'll find it all at Jive Time. In addition to our great selection of rare and collectible LP's our bargain bins have been called the best in Seattle. We add new titles to our 99¢, $3 and $5 bins every day. Many Jive Time staff favorites have been discovered in these bins proving great music doesn't need to cost a lot.

SELLING YOUR RECORDS? WE BUY USED VINYL!
We take pride in buying and selling records locally and therefore our business relies on you. If you decide to sell your music to Jive Time Records, we promise you a fair offer and professional service. Visit our selling your records section for additional information or call one of our buyers direct at (206) 632-5483 to discuss your collection.

HOUSE CALLS:
We make house calls for larger collections of interest in the greater Seattle area including Bellevue, Kirkland, Redmond, Bothell, Woodinville, Monroe, Tacoma, Puyallup, Fife, Renton, Kent, Federal Way, Auburn, Tukwila, West Seattle, Burien, White Center, Normandy Park, Southpark, Georgetown, Everett, Lynnwood, Marysville, Shoreline and other locations in and around the Northwest! Click here or call (206) 632-5483 for more info.

OUR ANNEX:
We've bought so many records we've run out of room! Check out our Clearance Annex inside the Fremont Vintage Mall. (Open daily 12-7)

At Jive Time we love music and it shows! Whether you're selling or buying music we look forward to your visit. –Jive Time Staff

Be Bop Deluxe “Axe Victim” (1974)

As mentioned in all other assessments of this album, the influence of Ziggy Stardust permeates Axe Victim from Bill's Bowiesque mullet down to the freeze-dried production, self-mythologizing content and plasticized space-age musical character of the songs. However, beneath it's glam-bandwagoning lies an imaginative album that's easy to enjoy if you're able to lower the blinders to it's Ziggy impersonations, while guitar hero worshipers will find in Nelson's hyperactive cascades of fuzz an idol worthy of praise. Highlighted in the "Rock & Roll Suicide" inspired urban wasteland of "Adventures in a Yorkshire Landscape," the axe-victimizing epic "Jets at Dawn," anthemic "Jet Silver and the Dolls of Venus," and shadowy orchestrated closer "Darkness," Nelson and his Be Boppers turn in a set of over-literate but oddly engaging tracks whose charms are probably easier to appreciate given three decades of glam dormancy. Inevitably, Nelson would call an audible and leave Axe Victim a curious footnote to his prolific career, but it's a forgotten son worth getting reacquainted with. –Ben

Terry Reid “Terry Reid” (1969)

The big deal about Terry Reid is, as legend has it, he was offered, and declined, Robert Plant's vocalist spot in the New Yardbirds, a group thereafter known as the Led Zeppelin.  If you can get past a missed Zeppelin connection and dig his action you'll understand why he did not need to consider jumping into some upstart and unproven group of New Yardbirds!  His voice, flat out, is a powerhouse, and on this, his second album, Terry Reid, is full of heat...he out sings Lorraine Ellison on her classic "Stay With Me Baby"...his voice is simply great, as in great BIG.  Even as he's obviously affected by Steve Marriott (Small Faces) and the Reid vs Plant case COULD be made, Reid's phrasing is much less Plant's wholesale Marriott mimic.  He has a pleading voice...brimming with feeling that just soars...this is an excellent album by an underrated, and relatively unknown heavy. –Nipper

N.W.A “Straight Outta Compton” (1988)

I'll have to put my vote in as this record being my favorite hip-hop/rap album of all-time. Just like the Sex Pistols and Black Flag before them, this was right in your face and hard to ignore. Comes off a show-stopper, the go for broke style is so real and scary that it makes you feel you've been pistol whipped into oblivion, and yet you come back for more. From the superb opener "Straight Outta Compton" to the anger fueled "Fuck Tha Police," this was hardcore music. Many of the tracks contain some very graphic lyrics, but there is a certain level of playfulness to the album as a whole. Make no mistake, this is not a kids record. It's gritty subject matter and harsh lyrics bring it to life in a fearsome yet passionate way. Filled with tormented material, "Express Yourself" can be fun at times and "Gangsta Gangsta" is a hell of a song. Ice Cube, of course is the real standout here (even surpassing Dr. Dre). His lyrics and anger are the most dazzling throughout the record (note - he wrote most of the lyrics on the album). I was too young to remember the impact this had on society back in 1988, but today it remains the greatest hip-hop album to exist. –Jason

The Band “Stage Fright” (1970)

It’s clear from the opening track that this is a faster, looser Band. “Strawberry Wine” is a quick, clumsy, lighthearted song—hardly “Tears of Rage,” that’s for sure. And there are plenty of such moments here, where the Band is honky tonkin’ their way through casual structures and tossed-off lyrics. The production, too, is a long way from the artfully rustic atmospheres of their previous two releases, but what the songs lose in aesthetic distinction they gain in punchy immediacy courtesy of engineering and mixing more typical of the time (by Todd Rundgren and Glyn Johns, respectively). Still, this is the Band, so don’t expect anything big and shiny. But I’ve made it sound like this is nothing special. It really is a terrific record, with at least half of the songs worthy of their prior efforts (“Sleeping,” “Time to Kill,” “The W.S. Walcott Medicine Show,” “The Rumor,” and the title track)—and fans of their two masterpieces will surely find things to love about this one; while those put off by the less-than-rawkous qualities of those albums might find this one’s breezier and (relatively) raunchier style more appealing—certainly more accessible. –Will

Cal Tjader “Amazonas” (1976)

A great Brazilian set from Cal Tjader quite different than most of his other work of the time. Although Cal spent most of his time at Fantasy Records working in a mixture of jazz and Afro-Cuban styles, he steps off here in a very Brazilian 70’s mode one that has some great links with jazz trends going on in Brazil at the time. Production is by Airto and arrangements are by George Duke and there’s a wonderful crossing of Rio and California in the set - one that uses keyboards from Egberto Gismonti, flute from Hermeto Pascoal, guitars by David Amaro, and trombone from Raul De Souza. Dawilli Gonga aka george duke plays some especially nice keyboards on the set and titles include a great version of Joao Donato’s “Amazonas.” – orgyinrhythm

Randy Newman “12 Songs” (1970)

For me this was and still remains Randy Newman's high water mark as a recording artist, the style and sound of the whole LP is sparse and as such rather menacing which suits the subject matter of these songs down to a tee but what makes this stand above other Newman classics (Sail Away, Good Old Boys, Trouble In Paradise) is that not before or since 12 Songs has Newman so convincingly stepped inside the skins of his dark, delusional characters, added to the fact there is not a single bad track on the whole record this stands for me as Neman's Classic. –Derek

The Damned “Machine Gun Etiquette” (1979)

Up to a point, there is no faulting the genius of the Damned, and Machine Gun Etiquette is the culmination of their (r)evolution. A debatable point, of course, as their Damned Damned Damned album could be considered their first, last AND greatest... BUT, Machine Gun finds the band expanding their cheeky short-loud-fast into something... well, grander! They expanded their song writing beyond what, at the time, had already become cliché 1-2-3-4 punk rock. Perhaps it was Captain Sensible's (melodic) move to guitar? Maybe they were just getting (ahem) older? I don't know for sure, but tracks like Plan 9 Channel 7, Love Song...even the faultless cover of MC5's Looking At You, were some of the first punk songs I could call...(don't laugh) beautiful! And the songs still hold up, I can put this on anytime and it makes me really happy. –Nipper

Thelonious Monk “Brilliant Corners” (1957)

With four of the five selections here being originals, Brilliant Corners displays the pianist's obsession with knotty, jagged melodies that leap around in unpredictable ways, be it on the segmented, abrasive title track, the obviously bluesy "Ba-Lue Bolivar Ba-Lues-Are," the ragged ballad "Pannonica," which features Monk simultaneously playing a bell-like celeste and piano, and the bold bounce of "Bemsha Swing." The sidemen, including Sonny Rollins, settle in to the compositions admirably, taking inspiration from Monk's idiosyncratic approach, and there's a sense of freedom in their solos despite the songs' atypical nature. A great example of one of the most original voices in classic jazz. –Ben

Williams And Watson “Two For The Price Of One” (1967)

In the sixties there were thousands of soul sides produced, however, the market was singles driven, so finding a period soul album playable start to finish is tough. I know you might reckon, "What about Motown?"! If you own enough sixties era Motown albums you know exactly what I mean. Being the biggest soul label during the sixties they were VERY guilty of using "filler" tracks to pad the albums, often reusing backing tracks or having their artists sing standards. Well, fortunately, the genius of Mr. Larry Williams and Johnny 'Guitar' Watson defies the cliche'! Two For The Price Of One is a wide open, pedal to the metal...SOUL album...it's exactly what you'd expect from this infamous pair...nothing but DANCERS! In fact, TftPoO is so danceable half the albums tracks are Northern Soul classics (biggest being "Too Late" and A "Quitter Never Wins"). This is what an album of soul oughta be...you ain't heard NOTHING till you've heard this! –Nipper

Thin Lizzy “Fighting” (1975)

My favourite Thin Lizzy album. Which puts me in a minority, for sure, but I shouldn't have to defend my assertion that this is hookier than Jailbreak (even if it doesn't reach that one's highest heights), more consistent than Johnny the Fox, and retains the sleazy feel that's more or less buffed away from the overly polished Bad Reputation. This is their most underrated album by far. All the elements of the sound for which they're best known (twin guitar attack, tense aggression, funky basslines, soulful melodicism and lyricism, etc., pick your cliché) are here in the freshest form; none of the cold metal posturing has crept in; and just about every song has an excitement that's infectious and totally addictive, especially "Rosalie," which is rock 'n' roll manna. –Will

The Monks “Black Monk Time” (1966)

The story of the Monks is almost that of urban legend. Five U.S. G.I.s stationed in Germany in the 1960's, decide to go AWOL from the military, begin dressing as monks and record an album of some of the most avant-garde rock n roll ever. Yes, it almost sounds too good to be true. I had heard the tale of these Monks when I picked up this wild little gem and it certainly lived up to the legend. Twelve amazingly off-kilter garage rock tunes that will surely grab your attention. The album starts of with "Monk Time" the band's anthem and call to arms. The singer screams and squeals his montra of peace and rock n roll and invites you to become a monk and rock n roll with them. The album then kicks into gear with the raucous stomper "Shut Up" and the dancable organ-fueled "Boys Are Boys and Girls Are Choice". The album then gets even more wild with the goofy but cathy "Higgle-Dy-Piggle-Dy" with its yodeling falseto. The album then takes a dark turn on the track "I Hate You" which is as menacing as the name implies. Just when the Monks got ya down, they bring you right back up a string of amazing garage rock rave ups. "Oh, How To Do Now" is the band's most freakbeat dance song, with its great organ sound and catchy chorus, then the stomping sound of "Complication" slows it down a touch just before you're treated to the wonderful "We Do Wei Du" and the amazingly sparatic "Drunken Maria" with its great call and response chorus. "Love Came Tumblin Down" is probably the Monks' most straight forward song, with its standard singing style (no yelling, chanting or yodeling) it's still a great song. The album then ends with "Blast Off" and "That's My Girl".  All in all, this is a very cool, unique, bizzare and fun record. Anyone looking to hear some great 60's garage rock that definately isn't from the standard mold, should seek out this obscure freaky classic. –KAM