For Digging Our Own Crates, the Dust & Grooves intern team has been burdened with the excruciating (but utterly captivating) task of diving into our extensive interview archive to rediscover albums both classic and weird that previous collector’s have obsessed over. Each record is hand picked from our own crates based on its unique style, fascinating history, or sometimes, just by its rad cover.
From the timeless to the reckless, crooning lovers and veritable punks, we plan to journey through twangy country sounds, experimental electronic noise, and all the glorious side roads and in-betweens along the way. We hope you will be in for the ride (but we get the aux cord).
Digging Our Own Crates: BB – Brigitte Bardot // Phillips Records, 1964 “It was a photo of Brigitte Bardot, with her big blonde hair, wearing... Read More
“You know, just because we’re talking about girl-pop doesn’t mean that the records are all sugar ‘n’ honey. The Shangri-Las were tough as hell, singing... Read More
“One of the most important post-Beatles bands was Kraftwerk. The way they influenced music, the dance scene, that they didn’t touch instruments. At one performance,... Read More
Previous Dust & Grooves interviewee Steven Blush noted Black Flag as “the suburban American response to Punk,” and with the band's debut album, Damaged, it is easy to pick up on. Released in 1981, the album was the first effort to feature fan-turned-lead-singer Henry Rollins, whose vocals elevate the band to an unflinching rawness.
Dusty in Memphis is so much more than its iconic song “Son of a Preacher Man.” I wouldn’t have known so until I listened to its entirety for this series, but Dusty Springfield’s honey-soaked blue-eyed soul album has a lot to offer to willing listeners.