#nowspining

[sufferinproxy]

[vinylarchavist]

"Return to Fantasy" is the eighth studio album by the English progressive rock/hard rock band Uriah Heep, released on June 13, 1975

By Bronze Records in the UK and Warner Bros. Records in the US. This album is significant for being the first to feature John Wetton (formerly of King Crimson and later of Asia) on bass guitar and vocals, replacing Gary Thain.

Musically, "Return to Fantasy" sees Uriah Heep continuing their blend of progressive rock complexity, hard rock riffs, and their signature multi-part vocal harmonies. Tracks like the powerful title song "Return to Fantasy," the intricate "Shady Lady," and the more melodic "Your Turn to Remember" showcase the band's versatility. While it maintains the band's mystical and fantastical lyrical themes, Wetton's presence brought a slightly different dynamic to their sound. The album was a commercial success in Europe, particularly in the UK where it reached No. 7 on the charts, and was generally well-received by fans.

The Cover Art Explained

The album cover for "Return to Fantasy" is striking and deeply connected to the album's title and overall aesthetic, leaning heavily into the band's traditional fantasy and mystical imagery.

The cover art was designed by Dave Field, with photography by Joe Gaffney.

Let's break down the key elements:

Front Cover: The dominant image on the front cover is a highly stylized, almost surreal depiction of a figure riding on what appears to be a gigantic, illuminated insect or creature. This creature has wings like a firefly and a fantastical, almost dragon-like head. The rider, shrouded in robes, is somewhat obscured but conveys a sense of journeying or returning to a mystical realm. The background suggests a twilight or dawn landscape, with hints of strange, organic architecture or ancient ruins, bathed in a soft, ethereal glow. The overall impression is one of magic, wonder, and perhaps a touch of foreboding, perfectly encapsulating the "fantasy" aspect of the title. Some interpretations suggest the rider was accidentally made to resemble keyboardist Ken Hensley.

Gatefold (Inner Sleeve) and Back Cover: Original vinyl releases typically came in a gatefold sleeve, which offered an expanded canvas for the artwork. The inside of the gatefold often featured more imagery related to the fantastical theme, sometimes including the band members or elements that tied into the lyrical content. The back cover would complete the visual narrative, possibly featuring another fantastical creature or a landscape, and listing the track titles. For "Return to Fantasy," it's known that the girl on the back cover was Dave Field's partner at the time.

The artwork evokes a sense of epic fantasy, much like the progressive rock album covers of artists like Roger Dean (who designed covers for Yes and Uriah Heep's Demons and Wizards). It's a visual promise of the mythical and adventurous journey the music inside offers, aligning perfectly with Uriah Heep's established identity. The use of vibrant colors and intricate details pulls the viewer into this "fantasy" world.

[bombboutique]

Dripping acid horror from the vinyl swamp. To me, Acid Witch are one of a kind and I hardly find comparable bands. A haunting blend of Acid Rock with Doom and Death Metal sprinkles that never sounds cheap. I‘ve become a big fan and recently collected their 2008 debut in a swamp colored vinyl version.

[daydream-perpetually]

currently spinning

[thosesharpnotes]

Johnny Cash – At Folsom Prison (Columbia – CS 9639, 1968 🇺🇸)

Jenny Owen Youngs and I had a great chat about imperfection in recording—which led us to Johnny Cash’s legendary “prison albums,” full of ambient noise and raw presence. I flub the title of “25 Minutes to Go,” but you’ll get the point.

We also dig into the deluxe edition of her Avalanche record and her hit podcast ���Buffering the Vampire”.

Full episode drops Wednesday at www.theSharpNotes.com.

[analogsoundstudio]

Walk on the Wild Side – Jimmy Smith | Jazz Organ Groove on Vinyl

   • Take Five – A Soulful Jazz Classic on Vinyl    

 • Michael Franks - The Night That Changed Ev...   

  • Eddie Harris - Love Letters ...What Happen...   

  • Tom Scott - Shadows | Timeless Jazz & Smoo...  

Immerse yourself in the soulful sound of Jimmy Smith as he delivers a powerful performance of “Walk on the Wild Side.” This vintage jazz organ classic, played straight from vinyl, captures the raw energy and groove that defined the golden age of soul jazz.

🔔 Don’t forget to like, subscribe, and hit the bell for more vinyl jazz classics and analog sound treasures!

[chickrawker]

#nowspinning #thewonderyears - #burstanddecayvolumethree #vinyl #vinyligclub #limitededitionvinyl

"I think I'm growing into someone you could trust.

I want to shoulder the weight until my back breaks,

I want to run until my lungs give up.

If I could manage not to fuck this up.

If I could manage not to fuck this up.

Enough is enough"

https://www.instagram.com/p/DJiFbN2xGlG/?igsh=d3Y4OHQ0MjA2d2Fq

[sally--canwait]

Testing my new record player 🎶💜

[russmorris]

What're you listenin' to these days?

[sufferinproxy]

[vinylarchavist]

"There's a Hippo in My Bathtub" is a delightful and well-loved children's album by Canadian singing legend Anne Murray, originally released on vinyl by Capitol Records in 1977.

This album stands out in Anne Murray's discography because it's a dedicated children's record, showcasing her warm, clear voice perfectly suited for a younger audience. While she is primarily known for her adult contemporary and country-pop hits, this album demonstrates her versatility and appeal across different genres.

Here's a closer look at the album:

Artist: Anne Murray. Known for her smooth alto voice and a string of hits like "Snowbird," "You Needed Me," and "Could I Have This Dance," Anne Murray brought her signature warmth and professionalism to this collection of children's songs. Being from Canada, this album holds particular significance for many Canadian families.

Release Year: 1977. This places it firmly in the era when vinyl was still the primary format for music, and children's albums were a significant market.

Record Label: Capitol Records. This was Anne Murray's long-time record label, responsible for many of her successful releases.

Content and Style: The album features a mix of traditional children's songs, some well-known pop tunes adapted for kids, and original compositions. The overall style is gentle, melodic, and engaging, designed to be enjoyed by young listeners. The arrangements are generally soft, often featuring acoustic instruments, and of course, Murray's signature vocal delivery.

Key Tracks (common to the album):

"Hey Daddy"

"Stars Are The Windows Of Heaven"

"Animal Crackers"

"Hi-Lili, Hi-Lo"

"Why, Oh, Why (Why, Why, Why)" (a Woody Guthrie song)

"Teddy Bears' Picnic"

"Inch Worm" (from the film Hans Christian Andersen, which is an interesting connection to a previous album discussion!)

"You Are My Sunshine / Open Up Your Heart" (medley)

"I Can See Clearly Now" (Johnny Nash cover, adapted for kids)

"What a Wonderful World" (Louis Armstrong cover)

"Sleepytime"

"Lullaby Medley" (including "Hush Little Baby," "Sleep Child," and "Brahms Lullaby")

Legacy and Reissues:

"There's a Hippo in My Bathtub" was a commercial success in Canada, achieving Platinum certification.

It was later reissued in 1979 by Sesame Street Records under the title "Anne Murray Sings for the Sesame Street Generation," indicating its appeal to that popular children's franchise.

The album was also reissued on CD in 2001, sometimes with additional tracks.

More recently, in 2019, Universal Music Canada reissued the album on 180-gram vinyl, making it available to a new generation of listeners and collectors.

Nostalgia: For many Canadians and fans of Anne Murray who grew up in the 70s and 80s, this album holds a strong sense of nostalgia, often remembered as a soothing and comforting part of their childhood.

The album is a charming entry in Anne Murray's discography, showcasing her ability to connect with audiences of all ages through her warm and comforting musical style.

[bombboutique]

Defusing the evil. Purzum - Filosofeline. I like how the web is full Burzum memes. I think the best way to deal with that Vikernes prick is to make fun about him. Even though Filosofem was and is my personal Black Metal mileston which was a welcome opposite when I bought it in my Electro-DJ 90s, full of love and happines. Filosofem was a view on things to come. Purzum turns things around and gives all Filosofem songs a so called Comfy Synth (the hipster term for what was called Ambient many moons ago) re-rub. And I like it. Dig in on Bandcamp!

[thosesharpnotes]

Bill Evans – Further Ahead (Live In Finland 1964-1969) (Elemental Music – 5990551, 2025)

Hard to believe Record Store Day was already two weeks ago. I’m still catching up on this year’s releases — though that’s not really surprising, considering the embarrassing number of records have been sitting on my shelves, unplayed and waiting.

I wasn’t sure what to expect from this set, but it exceeded whatever expectations I had. It also gave me a deeper appreciation for just how clean live recordings could be in the ’60s.

There’s a lot to unpack here — the liner notes alone are dense — so I’m still working my way through it all. But what I’ve heard so far is outstanding.

Looking forward to speaking with Zev Feldman in the next few weeks about this release and his remarkable career. Hope you’re looking forward to that too.

Did you pick this one up? What are your thoughts?

[bluenote1553]

Happy Halloween, Tumblahhhhh! Today' playlist, as to be expected, is inspired by the Samhain and are in regular rotation this time of the year: It's The Great Pumpkin, Charlie Brown OST(Charlie Brown Records/1978, Craft Recordings/ 2022), WNUF-TV 28 Frank Stewart Presents Halloween(Terror Vision/2015).