I'm supposed to be working plainclothed but what's a queen to do?
The blaxploitation film Cleopatra Jones premiered today in 1973, so we thought it was an appropriate moment to post this sleeve for the soundtrack, a pretty good record, like blaxploitation soundtracks tended to be. It's a re-issue, which is why it looks so pristine. The artists include Joe Simon & The Mainstreeters on the title tune, plus contributions from Millie Jackson, Carl Brandt, and J.J. Johnson. But our interest in this is the image of star Tamara Dobson, who plays the titular badass government agent cum fashion plate. We cropped and de-texted the cover and the result is the poster-like image you see below. Fun movie too.
Monroe doesn't even have to be real to steal the show.
Bet you've never seen anything quite like this before. And depending on how you feel about dolls maybe you don't want to see anything like it again. The photo shows Japanese singer Junko Sakurada performing with a terrifying—er, we mean fascinating—doll of film immortal Marilyn Monroe. This is not quite as leftfield a pairing as it looks. Sakurada covered the Monroe song “I Wanna Be Loved by You” on her 1976 live album Nee ki ga tsuite yo, aka Hey! Be Aware, so she's possibly performing that tune with the help of some terrifying—er, we mean appealing—visual accompaniment. Try not to imagine this nightmare version of Monroe being somewhere inside your house when you go to sleep tonight.
The performance was good, but the encore was unforgettable.
We asked you to stay tuned, and quicker than you can say ring-a-ding-ding above is Setsuko Ogawa as promised. Her guitar isn't just for decoration. In addition to her many film credits she released a 1973 single and later sang the theme song of the Nikkatsu Studios roman porno flick Enka Jôshikô: Kizudarake no Kaben—translation: “petals full of scars”—in which she headlined.
We've seen Ogawa described as the first roman porno star, and that could be true. Her debut film was 1971's Irogoyomi ōoku hiwa, aka Castle Orgies, and it was Nikkatsu's first official offering from its radical new genre, or possibly the second, depending on which source you believe. She starred in another Nikkatsu movie that year, so she was certainly among the genre's first recognizable faces.
The above image was pasted together from two larger shots and put online several years ago. We found full-frame versions of those separate shots, but not at a useful resolution, so two cropped shots stuck together like Siamese twins is what you get. However the resolution on that image is good, so we put it under the digital knife and split it during a dicey operation that took all of five seconds, with the results below. We'll have more from Ogawa at some point.
Hmm... it's always a tough decision. Which of my many talents should I flaunt today?
Above is a photo of vaudevillian, stage actress, movie star, television host, writer, and internationally renowned singer Pearl Bailey. She excelled in all the various areas of her artistic pursuits, but began her career as a nightclub performer, for years touring around the U.S. before her rise to household fame began by appearing in movies, firstly 1947's Variety Girl. The next year she split a platter with Buddy Clark, and went on to release more than two dozen albums. The regal image above is undated, but were we to guess, we'd say it's probably from around the time she appeared in the hit film Carmen Jones in 1954.
Turns out the French were the first to land on another planet.
It's been a while since we've looked at the output of genius illustrator Raymond Brenot, so today we have a record cover he painted in 1957 for a compilation disc called Party Interplanetaire. This is tasty work in the classic pin-up mode that made him deservedly famous under both his own name and his occasional pseudonym Carols. So who's on this vinyl? That would be Jo Courtin, Otto Rubini, Ray Massey, Conrad Janis, and Los Cangaceiros. Household names, right? Well, we never heard of them. If you have, good on you. If you're unfamiliar and want to hear a few examples, check here and here. But does the music really matter? If you have this just lose the platter and frame the sleeve.
Get ready for two 45 shots right between the ears.
We ran across these 45 record sleeves of kick-happy Japanese action star Rika Aoki to add to the collection of images we've already shared. The first record has a tune called, “Rika the Girl,” on the A, and “Rika My Girl,” on the flipside. The second record, on which she collaborated with an artist known as Alphard, has, “A Wandering Trip Alone,” on the A (by the way, a very poetic title, we think), and, “No Nameless Zeni,” on the flip. Forget the music—just dig her danger shirtdress. But if you must hear it, try here and here. No guarantees. People who normally listen to very good music are at high risk of serious side effects from listening to J-pop. These may include nausea, dizziness, vomiting, explosive diarrhea, and suicidal thoughts. In rare cases listening to J-pop can induce brain bleeds and pulmonary failure. The worst side effect could be realizing you like J-pop. Consult your physician about whether you are in robust enough condition to consume J-pop.
If you're happy and you know it drop your shirt.
Here's a historical curiosity. Above are two pressings of an album from Angelina, aka Angelina the Singing Model, released in 1957. Sharp-eyed readers may notice that the sleeves use the name and title font of the iconic mid-century tabloid Confidential. The platters were put out by Davis Records, owned by recording entrepreneur Joe Davis, and try as we might, we uncovered no connection between him and Confidential publisher Robert Harrison. Anything is possible, though. They were both New York based, were both publishers—though of different media—so we bet they knew each other. Did Harrison have any idea his font had been borrowed? There's no way we can know.
During the summer of 1957, when this album was recorded and hit stores, Harrison was deeply involved in the libel case that would lead to him selling Confidential. The trial was in L.A., and he stayed in NYC, refusing to appear in court out west, but even so the proceedings kept him plenty busy. Too busy to notice that a novelty album infringed on his logo? We doubt it. Someone, somewhere in Manhattan, would have said, “Hey, Robert, have you seen this new record that uses the font from your magazine?” For that reason we can't help feeling there's some link between Davis and Harrison that led to the look of these LPs, but for now that will have to remain a mystery.
Moving on to the singer, Angelina was actually New York City-based Joyce Heath, who later founded Joyce Heath and the Privateers. These platters, unlikely as the possibility seems, may have actually helped launch her career. As we said, they came in 1957, and Heath's first recordings under her own name were in 1959. Maybe she kept her semi-topless starring role on the cover of Confidential quiet, but we think it more likely she embraced it. While she does show her breast on the second cover, one little boob, after all, was not that big of a deal post-Monroe and Mansfield.
The album had either a repressing or was initially released with two sleeves. Since there are two levels of explicitness, we suspect the latter. Davis probably wanted a suggestive cover, and one that was even more risqué. On the other hand, the change in Heath's hair color suggests the former possibility—two pressings at different times with a change of hairstyle between. Both albums have 1957 copyrights, though, which means little time would have elapsed. Alternatively it could be that Heath wasn't the model for both covers. But we think she was. The second sleeve says in white lettering across her red shirt, “This is Angelina.” So there you go. And the first model, if you look past the hair color, resembles Heath strongly. At least to us.
And now we get to the music. You want to know whether it's any good, right? Well, it's a joke record, with double entendre songs like, “All the Girls Like Big Dick,” “Shake Your Can,” and “He Forgot His Rubbers.” We gave it a listen and all the tunes are cabaret style, pairing piano and vocal with no other accompaniment. Twelve tunes of that ilk would begin to sound similar anyway, but in this case, they really are all the same song. Same key, same tempo, same mood, etc. We have it on good authority Heath recorded this in one afternoon and what we heard sure lends credence to that assertion. Still, limited as the music may be, it's pretty fun. If you want to know more about Joyce Heath, check the blog whitedoowopcollector at this link.
Sugar and spice and everything nice.
Above is shot of cinematic girl-next-door Jane Powell, who rose to fame in Hollywood musicals such as Holiday in Mexico, Seven Brides for Seven Brothers, and Royal Wedding. While Powell is fondly remembered for those and similar roles, she found it ridiculous that she played teenagers into her mid-twenties even though she had children of her own by that point. Under the studio system she had little choice, but later she did manage to expand her repertoire, co-starring in the Hedy Lamarr melodrama The Female Animal. Afterward she turned her attentions mainly to television, with guest slots on everything from Goodyear Theatre to Fantasy Island. She also had stage and singing careers, and scored a top 20 hit with 1956's “True Love.” The photo you see here was made to promote her 1957 musical The Girl Most Likely, and a shot from the same session appeared on the cover of the soundtrack album, which you see below. We don't generally do musicals here, but we will certainly check out her dramatic turn in The Female Animal. Meanwhile you may want to check out this rare photo we shared a couple of years ago.
Faux vintage album cover raises Leeding question.
The album above sleeve looks old, doesn't it? It's actually a new release by Polish deejay Bonny Larmes purposely weathered to have that vintage look. We also have the black and white photo his graphic designer worked from, and you'll notice right away that the record the model is holding behind her back has changed from Polish jazz to Rod McKuen's Time of Desire. Since McKuen's record came out in 1958, that gives us a ballpark date on the original image.
Bonny Larmes is fine, but his music isn't why we posted his album. We're interested in the model. Incidentally, you probably noticed her asscrack hair. If not, look to the right (or above, if you're viewing on mobile). Now you've noticed. Asscrack hair is a relic of the past you'd never see in a modern photo. We think it's cute, but the question is whose asscrack hair is it? Well, the model here is identified everywhere as actress Lila Leeds, but this is another internet replication error, because there ain't no way the woman you see above is also the woman you see below—and the woman below is definitely Lila Leeds.
For even more proof check a 1949 photo, probably her most famous shot, at this link. See what we mean? We also seriously doubt Leeds ever posed nude, and if she did, certainly she never posed asscrack nude. So, hairy girl, not Leeds. But who is she? We took a long look around the internet and came up with nothing, so we'll probably never know. But the main thing is to have at least one site come to poor Lila's defense. And they say chivalry is dead.
I swear to you that is not my hairy asscrack!
Let the record show that Ann-Margret can sell anything.
We don't think of Swedish actress Ann-Margret as a poster girl for soul music, but a South Korean label called the Oscar Record Co. thought differently and decided to plop her on the cover of their 1971 compilation disc Soul. Oscar wasn't the only label to do this. In fact, it wasn't even the only label from South Korea to do it. Tae Do, Top Hit, Paramount, and Joong Ahng all borrowed Ann-Margret to front compilation discs too.
But this particular platter is probably the best of the lot. It has Tom Jones. Johnny Rivers, Wilson Pickett, The Animals doing “Don't Let Me Be Misunderstood,” Mitch Ryder, The Rolling Stones doing “Satisfaction” and “Paint It Black,” Cliff Richard, James Brown, and The Mamas and Papas doing “California Dreamin',” our personal favorite of the extensive offerings. You also get two songs from The Supremes, so all in all, it's a top quality collection.
The cover was posted last month at the album art blog lpcoverlover.com, a worthwhile stop for vintage vinyl art. Their scan was a little crooked, so we squared it up, separated the two Ann-Margret images, and uploaded them below. We kept the full cover scan at large size, so if you want it you'll find that it's 2500 pixels wide, pretty much twice the size of an actual LP sleeve, suitable for framing. Help yourself, and thank lpcoverlover.
It's easy. We have an uploader that makes it a snap. Use it to submit your art, text, header, and subhead. Your post can be funny, serious, or anything in between, as long as it's vintage pulp. You'll get a byline and experience the fleeting pride of free authorship. We'll edit your post for typos, but the rest is up to you. Click here
to give us your best shot.