#Frumpy

[submissivefeminist]

I got new squish and they’re girlfriends 💕

[frank-o-meter]

A queer man would never wear such an ill fitting, frumpy looking suit. I guess Daniel Craig can no longer afford a stylist as in his James Bond Days.

[trexalicious]

I am not body shaming Serena as I appreciate athletes and their physical builds. But when you have sh*loads (pronounced shloads) of money, even with a super muscular body, you can dress far better than this! She and Rachel are both completely unable to dress for their body types. The 50's sockhop skirt is completely unflattering as is the super long skinny ponytail. If you ignore the ponytail she looks like a man in vintage drag. FFS hire a stylist-- you're too young and rich to look this frumpy and matronly...

[hobohobgoblim]

Trying to unblock my writers fit of the day.

[jt1674]

[rwpohl]

indian rope man, frumpy, all will be changed 1970

[vinylspinning]

Bodkin: Bodkin (1972)

Once more into the depths we go, and I felt compelled to consult a dictionary for this one:

bod·kin /ˈbädkən/ noun

A blunt, thick needle with a large eye used especially for drawing tape or cord through a hem;

A small pointed instrument used to pierce cloth or leather;

A Scottish rock band most of us have never heard of.

Nor would we, if not for my boundless/reckless curiosity for hirsute, hoary, heavy-handed, all-but-forgotten groups from the early 1970s, which was precisely when this curiously named quintet briefly walked the primordial Earth before facing historical extinction.

And yet, somehow, Bodkin's name survived among diehard record collectors, even though (or perhaps because) they only pressed a few hundred copies of this set of long-winded jams -- all of them dredged from the foggy realm between the prog-rock highlands and psych-rock lochs (in a manner of speaking) of their homeland.

Fact is: these barely produced efforts by vocalist Zeik Hume, guitarist Mick Riddle, bassist Bill Anderson, drummer Dick Sneddon, and a dominated Doug Rome on Hammond organ were probably no more than demos that no label saw fit to release.

And why would they?

Like similarly flawed contemporaries such as Jade Warrior, Steel Mill, and Ainigma, Bodkin simply lacked the instrumental abilities and songwriting sophistication to pull off these overly ambitious, often plodding, even clumsily arranged explorations.

OK, so the morbidly-named, two-part, side one-spanning "Three Days After Death" sort of keeps it together with its epic blend of marching rhythms, pounding bass, serpentine guitar riffs, and hymnal, semi-classical keyboards, behind Hume's insecure wailing.

But unwanted psychedelic hangovers undermine both the queerly named "Aftur Yur Lumbe" (think Cream at their absolute worst) and the eleven-minute "Aunty Mary's Trashcan," with its dated, whimsical nonsense about tin cans, broken vases, and grandfather clocks.

And besides briefly quoting from Holst's "Mars, Bringer of War," the album's sole, remote connection to proto-metal, "Plastic Man," merely shifts the focus from keys to guitar, but Riddle's leaden tones and sullen power chords hardly resemble Black Sabbath.

Come to think of it, Bodkin's effort does sort of sound like "Iron Man," if he were made of, you know, "plastic."

So keep in mind that vinyl-hawking reissue labels have obviously tried to put a kinder spin on Bodkin's oft-forgotten relic over the years, and, to be fair, I too have heard a lot worse, but (stop me if you've heard me say this before) I've also heard a lot better!

In other words, don't be fooled by the album's inexplicably copious reissues (let alone that one cover overhead boasting a Baphopmet symbol to suggest occult rock or metallic contents), and approach Bodkin with the same caution you would give a "blunt, thick needle."

More Vintage Progressive Rock: Art's Supernatural Fairy Tales, Beckett's Beckett, Birth Control's Operation, A Bolha's Um Passo à Frente, Can's Ege Bamyasi, Clear Blue Sky's Clear Blue Sky, Crack the Sky's Crack the Sky, Culpeper's Orchard's Culpeper’s Orchard, Eloy's Eloy, Flied Egg's Dr. Siegel’s Fried Egg Shooting Machine, Focus' Moving Waves, Frumpy's Frumpy 2, Fuzzy Duck's Fuzzy Duck, Genesis' Nursery Cryme, Goblin's Profondo Rosso, Gracious' Gracious!, Hard Meat’s Hard Meat ...

Even More Vintage Progressive Rock: Haystacks Balboa's Haystacks Balboa, High Tide's Sea Shanties, Horslips' The Tain, Jade Warrior's Jade Warrior, Jethro Tull's Aqualung, Jody Grind's Far Canal, Kansas' Kansas, King Crimson's In the Court of the Crimson King, The Move's Looking On, Murphy Blend's First Loss, Nektar's A Tab in the Ocean, Osage Tribe's Arrow Head, Paladin's Charge!, Patto’s Hold Your Fire, Pink Floyd’s Meddle, Premiata Forneria Marconi's Photos of Ghosts, Quiet Sun's Mainstream, Rush's Hemispheres, Savage Grace's 2, Stray's Stray, Steel Mill's Green Eyed God, Stray Dog's Stray Dog, Styx's The Grand Illusion, T2's It'll All Work Out in Boomland, Tempest's Tempest, Van Der Graaf Generator's Pawn Hearts, Wild Turkey's Battle Hymn, Wishbone Ash's Argus, Yes' Fragile.

[phenomia]

*

[mysticalblizzardcolor]

FRUMPY - All Will Be Changed -Todos serán cambiados 1970 FULL ALBUM.

🍄 I've been thinking about this band recently. The singer was Rad!

FRUMPY -All Will Be Changed -1970 FULL ALBUM. https://youtu.be/FfyqPsKP2GE?si=h5mntunthZ7Osr0E via @YouTube

Frumpy was a German progressive rock/krautrock band based in Hamburg, which was active between 1970–1972 and 1990–1995. 

[kayladiamonds]

AI generated.

[apatheticfluorescence]

[jt1674]

[angels-mania]

Idk if it’s the colour or how frumpy it is but hate this

[vinylspinning]

Ainigma: Diluvium (1973)

Taking their name from the Greek word for "enigma," Ainigma was a German three-piece from the small Bavarian town of Garmisch-Partenkirchen, whose "career" ranged from 1971-'74, and produced this sole long-player from half-a-century ago.

Its musicians were seventeen-year-old Willy Klüter (vocals, organ), his fifteen-year-old brother Michael (drums), plus Wolfgang Netzer (guitar, bass, also fifteen), and their inexperience is obvious on 1973's Diluvium (Latin for "deluge").

The album consists, by and large, of neoclassical heavy prog that appears to have been recorded in a cluttered garage -- and that's close enough to the truth, as it was captured at the Garmisch parish hall, instead.

Still, this was better that than the boys' regular rehearsal site in the Klüter family basement, which happened to be located underneath their dentist father's home practice, and must have therefore subjected his patients to a racket fit to rattle their fillings!

Like, literally!

Luckily, Ainigma did benefit from adult supervision during the album's recording, as they convinced the affluent Dr. Klüter to hire one Franz Forth -- a Munich-based engineering intern with the Bavarian Broadcasting System -- and a pair of two-track Revox machines.

With all this in mind, one can't help but admire the trio's precocious, if unrefined talents, as it explodes with boundless enthusiasm via domineering Hammond organ (*), surprisingly distorted fuzz guitars, muscular drums ... and pretty terrible lyrics.

And yet, all three cuts found on side one -- "Prejudice," "You Must Run," and "All Things are Fading" -- feature their fair share of memorable moments, even if these were clearly inspired by the likes of Uriah Heep, Stray, and especially Atomic Rooster.

Side two houses the 18-minute-long trip of a title track, complete with a clumsily punched-in drum solo and other technical issues relating to the bass, lead and background vocal overdubs, which don't always mesh with the backing tracks for lack of an equalizer and other common tools available in most professional studios ... but not the parish hall.

Evidently, Dr. Klüter's generosity had its limits, and the members of Ainigma were so dissatisfied with the sessions' end results that they only pressed about 500 copies of Diluvium (**) and then sold them at a discount on account of its shitty sound.

Mama Klüter, likewise, eventually grew tired of driving the teenagers to local gigs, so the band's prospects and resolve gradually dwindled and, after briefly hiring a bassist to flesh out their live shows, Ainigma called it a day sometime in '74.

So, what's the final verdict?

Well, I've heard much better examples of under-funded, under-rehearsed German heavy prog, but I've also heard a lot worse, so give Ainigma and Diluvium a half-dozen virtual "spins" and you too might be tempted to invest in a physical format.

* Although Willy's liner notes amazingly suggest he only secured his first Hammond a few years later and got by here with a Farsifa on these recordings!

** In case you're wondering, the rear sleeve's cryptic acronyms, ARC ALP, stands for "Ainigma Record Company, Ainigma LP Stereo, and its product number of 151715 reflected the boys' ages at the time of recording.

More Early ‘70s Heavy Rock & Prog: Atomic Rooster’s Death Walks Behind You, Birth Control’s Operation, Bodkin's Bodkin, Budgie’s Squawk, Clear Blue Sky’s Clear Blue Sky, Deep Purple’s Fireball, Eloy’s Eloy, Los Dug Dug’s Smog, Estus' Estus, Focus’ Moving Waves, Frumpy’s Frumpy 2, Hammer's Hammer, Hard Meat’s Hard Meat, Head Machine’s Orgasm, Highway Robbery’s For Love or Money, Jethro Tull’s Aqualung, Jerusalem’s Jerusalem, Jody Grind’s Far Canal, Kahvas Jute’s Wide Open, Leaf Hound’s Growers of Mushroom, Murphy Blend’s First Loss, Scorpions’ Lonesome Crow, Stray’s Stray, Stray Dog’s Stray Dog, Tapiman’s Tapiman, Tempest’s Tempest, Thundermug’s Thundermug Strikes, Tiger B. Smith’s Tiger Rock, Toad’sToad, Toe Fat’s Two, Trapeze’s Medusa Uriah Heep’s The Magician’s Birthday, Warhorse’s Warhorse, Wild Turkey’s Battle Hymn, Wishbone Ash’s Argus, Zarathustra’s Zarathustra.

[seedshipchronicles]

Mission #004 Pt. 3

The planet has met the criteria of Priority #1. A probe has been launched.

Planet has been deemed suitable for human life.

ALERT: Programmer mandate of launching all probes have not been met.

The ship continues on its journey.

Temperature scanner has been upgraded.

No probe has been launched. Scans indicate that planet does not meet the criteria of Priority #1.

This is the end of the report for Part Three of Mission #004.

Next Part