M- Original The Runaways MERCURY RECORDS Garage Rock Vinyl JOAN JETT Lita Ford

$

43

This Auction Is For This Original Vintage 1976 Vinyl 33 1/3 LP Record
by The Runaways "The Runaways" Mercury Records SRM-1-1090
Grades -- Vinyl Record: M- Label: M- Cover: M- Insert: M-

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This Auction Is For This Original Vintage 1976 Vinyl 33 1/3 LP Record
by The Runaways "The Runaways" Mercury Records SRM-1-1090
Grades -- Vinyl Record: M-  Label: M-  Cover: M- Insert: M-

Grades
Record:   M-      Very Nice Record, High Gloss

Label:      M-     Clean, Shows No Spindle Marks, shows small paper pull

Cover:     M-    Gatefold Cover, High Gloss, Bright Colors, Shows Very Minor Rounding or Bumping at Corners

Insert:    M-     Lyric Sheet Insert, Very Nice

Complete W/ Original Mercury Dust Jacket

The Runaways "the Runaways" 
1976 Mercury Records SRM 1 1090
front

Track List Side 1 
1. Cherry Bomb (Joan Jett, Kim Fowley)
2. You Drive Me Wild (J. Jett)
3. Is It Day or Night? (K. Fowley)
4. Thunder (Mark Anthony, Kari Krome)
5. Rock & Roll (Lou Reed)

Track List Side 2 
1. Lovers (J. Jett, K. Fowley)
2. American Nights (M. Anthony, K. Fowley)
3. Blackmail (J. Jett, K. Fowley)
4. Secrets (Cherie Currie, K. Fowley, K. Krome, Sandy West)
5. Dead End Justice (S. Anderson, C. Currie, K. Fowley, J. Jett)

The Runaways, Self Titled Mercury Records
When the Runaways debuted in 1976 with this self-titled LP, aggressive female rockers were the exception instead of the rule. Women had no problem becoming folk-rockers, singer/songwriters or Top 40 icons, but female artists who had more in common with Led Zeppelin and Aerosmith than Joni Mitchell were hardly the norm. With this album, the Runaways made it crystal clear that women (or specifically, adolescent girls) were more than capable of playing intense, forceful hard rock that went directly for the jugular. Lusty classics like "Cherry Bomb" and "You Drive Me Wild" made no attempt to conceal the fact that teenage girls could be every bit as sexual as the guys -- a message that both men and women found intimidating. And on "Is It Day or Night," Cherie Currie sings about life in the fast lane with every bit as much conviction as Axl Rose would 11 years later. Currie and Joan Jett are equally riveting, and a 17-year-old Lita Ford was already an impressive guitarist. This LP was far from a commercial hit in the U.S., where timid rock radio programmers simply didn't know what to make of the Runaways. But interestingly, it did earn the band a strong following in the major rock market of Japan.

The Runaways
Often dismissed during their existence as a crass marketing gimmick, the Runaways have grown in stature over the years as the first all-female band to make a substantial impression on the public by playing loud, straight-up, guitar-driven rock & roll. Since all of the members were teenagers (some of whom were still learning to play their instruments when they passed their auditions), the band's music was frequently raw and amateurish, but it neatly combined American heavy metal with the newly emerging sound of punk rock. In the media, the Runaways were victims of their own hype, supplied by maverick promoter/manager Kim Fowley. Fowley's insistence on a sleazy jailbait image for the group made it easy for the press to dismiss them as nothing but a tasteless adolescent fantasy -- an impression bolstered at the time by the admittedly erratic quality of their music. But in the end, the Runaways' sound and attitude proved crucially important in paving the way for female artists to crank up the volume on their guitars and rock as hard as the boys; plus, they produced one undeniably classic single in the rebel-girl manifesto "Cherry Bomb."

The genesis of the Runaways can be traced to a 1975 Alice Cooper party, where Fowley met teenage lyricist Kari Krome. Fowley was impressed with Krome's streetwise perspective and set about putting together a female band. Krome's friend, guitarist Joan Jett (born Joan Larkin), had been forming a band of her own with drummer Sandy West (born Sandy Pesavento), and Fowley quickly had a trio on his hands. However, it soon became apparent that Krome was not much of a singer, and she was replaced by vocalist Michael "Micki" Steele (born Sue Thomas), who also began learning the bass. As a trio, this lineup recorded a demo titled Born to Be Bad in late 1975; shortly thereafter, guitarist Lita Ford successfully auditioned through a trade-paper ad, and Steele left the group (she would later join the Bangles). Cherie Currie became the new lead vocalist, and after an extremely brief stint with a bass player known only as Peggy (which lasted just a few weeks), the band settled on Jackie Fox (born Jacqueline Fuchs), who switched to bass from guitar in order to join the band.

Thus constituted as an entirely teenaged quintet, it didn't take long for the Runaways to score a record deal; Currie's stage wardrobe (lingerie) and Fowley's well-established contacts made sure of that. After signing with Mercury in February 1976, the band began recording their self-titled debut album, which was released just a few months later. However, it was not greeted well. Fowley was preceded by his reputation for overhyping gimmicky acts, and the sheer number of roles he played in guiding the Runaways' career made him appear a manipulative, Svengali-like figure. Moreover, regardless of whether or not the Runaways were simply a cheap exploitation act (an endlessly debatable question), the entire concept of the band -- teenage girls playing their own instruments and singing frankly and enthusiastically about sex, booze, and life on the streets -- was simply too discomforting for much of America. Fowley's extensive involvement (some called it near-total control) made it easy for journalists and radio programmers to dismiss the group out of hand as a male-concocted sham; it was also a convenient way to ignore the myriad cultural buttons the Runaways were pushing.

The Runaways Despite a wave of publicity on Fowley's part, The Runaways just barely scraped the bottom of the charts in the early fall of 1976, around the same time the band played their first gig at the legendary New York punk club CBGB's. The second Runaways album, Queens of Noise, was released in early 1977 and fared little better on the charts than its predecessor, thanks to radio's continued reluctance to program the group's music. However, when the Runaways mounted a tour of Japan in June of that year, they were greeted with sold-out arena gigs and rabidly enthusiastic audiences who didn't consider them a joke ("Cherry Bomb" had, in fact, topped the Japanese charts). A concert record, Live in Japan, was culled from the tour, but wasn't released in the U.S.

Despite a wave of publicity on Fowley's part, The Runaways just barely scraped the bottom of the charts in the early fall of 1976, around the same time the band played their first gig at the legendary New York punk club CBGB's. The second Runaways album, Queens of Noise, was released in early 1977 and fared little better on the charts than its predecessor, thanks to radio's continued reluctance to program the group's music. However, when the Runaways mounted a tour of Japan in June of that year, they were greeted with sold-out arena gigs and rabidly enthusiastic audiences who didn't consider them a joke ("Cherry Bomb" had, in fact, topped the Japanese charts). A concert record, Live in Japan, was culled from the tour, but wasn't released in the U.S.

Despite this taste of success, relationships between some of the group members had begun to fray, thanks partly to substance abuse problems and partly to unconcerned negligence on the management's part. Upon their return to Los Angeles in July 1977, Jackie Fox departed the group; a story circulated that she had attempted suicide on the Japanese tour, though it was later discredited. Before the year was out, Currie too had left, spurred in part by consistent disagreements with Fowley. Jett took over as lead vocalist, and new bassist Vicki Blue was hired for the group's third album. Waitin' for the Night was released at the end of the year, and failed to even hit the U.S. charts. By this point, Fowley had lost interest in the band, and quit as manager early the next year. Jett's unofficial leadership role within the group became more serious, but unfortunately, musical differences were beginning to arise (Jett's punk and glam rock influences clashed with West and Ford's love of straight-up hard rock and heavy metal). One more album, And Now...The Runaways, appeared toward the end of 1978, but it was released only in the group's core markets of Europe and Japan (it later appeared in America with a different running order under the title Little Lost Girls). Blue quit the band after their New Year's gig and was replaced by Laurie McAllister, but to no avail; Jett left the group in April 1979, and the Runaways officially disbanded not long after.

Currie released a solo album in 1978 titled Beauty's Only Skin Deep, and then teamed up with her twin sister Marie for 1980's Messin' With the Boys. Jackie Fox went to law school and became an attorney. Meanwhile, West and Ford formed a short-lived outfit of their own, after which Ford went solo and scored several hits as a pop-metal artist during the '80s. An even better indicator that there was more to the Runaways' music than met the eye was the success of Joan Jett's solo career. Jett formed her own band and record label, landed an enormous number one smash with 1982's "I Love Rock n' Roll," and continued to produce albums of tough hard rock into the 21st century. The heavily feminist riot grrrl punk movement claimed Jett as a major inspiration, prompting a re-examination of the Runaways' output divorced from Kim Fowley's marketing tactics. Rumors of a full-band reunion surfaced periodically but never resulted in an actual gig, although the release of a summertime biopic in 2010 -- one that starred Kristen Stewart as Jett and Dakota Fanning as Currie -- helped rejuvenate interest in the band.

Vintage Vinyl Records brought to you by, Fox Music Company
FOX MUSIC vinyl records album lp cd

Fox Music Company is a Indie Record Store, Nestled in the Heart of Historic Watertown Wisconsin. Vinyl; Records; Long Plays; LPs; Albums; Wax Stacks or Stacks of Wax; 7's 10's or 12's, 45 rpm; 33 1/3 rpm; 78 rpm or Maybe...., for you It's Digital? Compact Disc; CD's; DVD's. Which Ever Your Favorite Term or Format, Fox Music has a Large Inventory of Records & CD's, New & Used.

Fox Music Company is located Downtown Watertown Wisconsin, in the Historic Merchants National Bank Building on the corner of First Street and Main Street. Our entrance is on First Street at the top of the wheel chair ramp. The City of Watertown is located in the South Eastern portion of Wisconsin and is centered where the counties of Dodge and Jefferson meet. The North side of Watertown sits in Dodge County, the South side in Jefferson County. In the East-West direction we are midway between Madison and Milwaukee

Vinyl Record Care and Maintenance
Cleanliness is absolutely mandatory if the optimum sound capability of the vinyl record is to be realized. A clean record will not only sound better, but last longer. It has been shown that repeated playing of dirty records can cause permanent damage to the vinyl. Preservation of valuable or irreplaceable records requires careful cleaning. Further more, stylus wear is greatly accelerated by playing dirty records, and with cartridges costing what they do these days, playing soiled records can lead to significant and unneeded expense.

Vinyl Records, What is a Vinyl Record??
Vinyl records were introduced and marketed as the unbreakable record, unlike its shellac counterpart of days gone by, that would break at the drop of a hat and becomes more brittle over time. Vinyl records are made from polyvinyl chloride (PVC) which has been proven to be a most stable material for sound recording. As a practical matter, vinyl records provide excellent sound quality when treated with care.Vinyl Records were the music source of choice for radio stations for decades, and the switch to digital music libraries by radio stations has not produced a noticeable improvement in sound quality..., as a note most radio stations severely reduce the dynamic range of their broadcasts and the allowed frequency bandwidth for a radio station is less than the bandwidth on a well-made record. Casual ears cannot detect a difference in quality between a CD and a clean new LP.

This is a Great Set of YouTube Videos on
"How Vinyl Records Are Made"

Storing Your Collectible Vinyl Records

Store your collectible vinyl records in our "poly sleeves" and protect them from dust, dirt, finger oils, and other airborne pollutants. Our polyethylene bags hold size and thickness tolerances and have passed the Photo Activity Test certifying that they are safe for long term storage.

Using a poly sleeve on the outer record cover keeps dust off the records and also protects
the graphics of your lps album cover or 7" picture sleeves. The artwork and the graphics that
cover your vinyl records are often just as valuable, if not more valuable than the records themselves.

Our polyethylene outer record sleeves are archival and will not cause
chemical reactions or harm the jacket graphics or the records themselves in any way.
Sleeves used for storing audio records should not have any plasticizers, additives or PVC in them.
All the materials have been lab and time tested for their superior storage qualities.

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Unless noted, every record is an original issue for the label and catalog number given. Here is a brief explanation of our grading system, followed by an overview of abbreviations you may encounter for cover and or label.

• SS Still Sealed - in factory-fresh condition
• M Mint - I don't use this grade.
• M- Mint Minus - a near perfect, probably unplayed record
• VG+ Very Good Plus close to like new with only superficial signs of use that don't affect play. Only well cared for records will grade out to VG+. Will satisfy all but the most demanding collector.

• VG Very Good - a used, reasonable copy. There will be obvious signs of wear and the possibility of light surface noise between tracks or during quiet passages, but still quite nice.
• VG- Very Good Minus - significant wear and marks and usually quite noticeable surface noise.
• G+ Good Plus. In the record world, 'Good' is not good! From here on down (Fair, Poor), we're talking about beat-up records.

• co = drill hole in label or jacket (or saw mark/cut corner on cover)
• cw = cover wear
• dj = promotional issue 45
• djt = dj timing strip (12" x 4" white sticker on cover detailing titles and playing time)
• es = electric stereo (the record industry's attempt at giving stereo-like sound characteristics to mono recordings)
• lbl = label
• ps = picture sleeve (for 45's)
• pc = picture cover (hard cover usually 45rpm Eps)
• re = reissue

• sl = slight
• sm= small
• tobc = tag on back cover
• tol = tag on label
• wlp = white label promo
• woc = writing on cover
• wol = writing on label
• #ol = number on label
• oc = on cover
• obc = on back cover
• promo stamp = usually gold embossed notice on jacket indicating that item intended for promotional use
• split seams, 4" split, 8" taped seam, etc... = all refer to cover damage

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Record and Jacket (cover) will be shipped separate (un-sleeved) from each other to prevent the record from cutting the record covers' seems, both will be shipped together in a new 3 mil poly sleeve.
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RETURNS
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