The Cramps (1980) Songs The Lord Taught Us ILP005 RE1990 VG+ / VG+

	£		17
	$		22

Play tested on Thorens TD320 Mk2, fitted with Ortofon Bronze via Quad and Celestion Studio Monitors. Described upon listening - please ask if any other questions so as to avoid any misunderstanding. Have a look at the photos and read descriptions carefully before bidding. 
Allmusic Continuing the spooked-out and raging snarls of their Gravest Hits EP, the Cramps once again worked with Alex Chilton on the group's full-album debut, Songs the Lord Taught Us. The jacket reads "file under: sacred music," but only if one's definition includes the holy love of rockabilly sex-stomp, something which the Cramps fulfill in spades. Having spent Gravest Hits mostly doing revamps of older material, the foursome tackled a slew of originals like "The Mad Daddy" and "TV Set" this time around, creating one of the few neo-rockabilly records worthy of the name. Years later Songs still drips with threat and desire both, testament to both the band's worth and Chilton's just-right production. "Garbageman" surfaced as a single in some areas, a wise choice given the at-once catchy roll of the song and downright frightening guitar snarls, especially on the solo. The covers of the Sonics' "Strychnine" and Billy Burnette's "Tear It Up" -- not to mention the concluding riff on "Fever" -- all challenge the originals. Interior has the wailing, hiccuping, and more down pat, but transformed into his own breathless howl, while Ivy and Gregory keep up the electric fuzz through more layers of echo than legality should allow. Knox helms the drums relentlessly; instead of punching through arena rock style, Chilton keeps the rushed rhythm running along in the back, increasing the sheer psychosis of it all.

TracklistShow Credits

Companies, etc.

• Published By – Illegal Songs
• Published By – Copyright Control
• Published By – Bregman, Vocco & Conn
• Published By – Lark Music Ltd.
• Phonographic Copyright (p) – Illegal Records Ltd.
• Copyright (c) – Illegal Records Ltd.
• Manufactured By – EMI Records Ltd.
• Recorded At – Sam Phillips Recording Studio
• Mixed At – Ardent Studios
• Mixed At – A&M Studios
• Pressed By – DFI
• Printed By – DRG Malago

Credits

• Cover [Concept] – The Cramps
• Drums – Nick Knox
• Guitar – Bryan Gregory, Poison Ivy
• Lacquer Cut By – JA*
• Photography By – David Arnoff
• Producer – Alex Chilton
• Vocals – Lux Interior

Notes

On center labels:
Illegal Songs (A1, A3 to B3, B5)
Copyright Control (A2, A5, B4)
Bregman Vocco & Conn Ltd. (B6)
Lark Music Ltd. (B7)

? & © 1980 Illegal Records Ltd.  Manufactured in the UK by EMI Records Ltd.

On cover:
© 1980 Illegal Records Ltd.
? 1990 Illegal Records Ltd.

Recorded at Sam C. Phillips Recording Studios, Memphis, Tennessee.
Mixed at Ardent Studios, Memphis and A&M Studios, Hollywood.
Pressing company uncredited, identified by the stamped ? (Delta) symbol.
Cutting engineer uncredited, identified by the etched matrix.

Barcode and Other Identifiers

• Matrix / Runout (Runout side A, stamped): ? 85 1 I LP 005 A1
• Matrix / Runout (Runout side B, stamped): ? 85 1 I LP 005 B1
• Matrix / Runout (Runout both sides, etched): JA
• Matrix / Runout (Label side A): ILP 5 A
• Matrix / Runout (Label side B): ILP 5 B
• Barcode: 5 015557 005519
• Rights Society: MCPS/BIEM

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• Record supplied with a poly inner - new if not already present, packed separately to sleeve in new outer poly cover to preserve its condition.
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Mint (M)   Absolutely perfect in every way. Certainly never been played, possibly even still sealed. Should be used sparingly as a grade, If at all.

Near Mint (NM or M-)   A nearly perfect record. Many dealers won't give a grade higher than this implying (perhaps correctly)that no record is ever truly perfect. The record should show no obvious signs of wear. A 45 RPM or EP sleeve should have no more than the most minor defects, such as almost invisible ring wear or other signs of slight handling. An LP cover should have no creases, folds, seam splits or other noticeable similar defects. No cut-out holes, either. And of course, the same should be true of any other inserts, such as posters, lyric sleeves and the like. Basically, an LP in near mint condition looks as if you just got it home from a new record store and removed the shrink wrap. 

Very Good Plus (VG+)   Generally worth 50 percent of the Near Mint value. A Very Good Plus record will show some signs that it was played and otherwise handled by a previous owner who took good care of it. Record surfaces may show some signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experiences. Slight warps that do not affect the sound are "OK". The label may have some ring wear or discoloration, but it should be barely noticeable. The center hole will not have been misshapen by repeated play. Picture sleeves and LP inner sleeves will have some slight wear, lightly turned up corners, or a slight seam split. An LP cover may have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount. In general, if not for a couple things wrong with it, this would be Near Mint. All but the most mint-crazy collectors will find a Very Good Plus record highly acceptable.

Very Good (VG)   Generally worth 25 percent of Near Mint value. Many of the defects found in a VG+ record will be more pronounced in a VG disc. Surface noise will be evident upon playing, especially in soft passages and during a song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as with light scratches (deep enough to feel with a fingernail) that will affect the sound. Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, only two or three of them. 

Good (G), Good Plus (G+)   Generally worth 10-15 percent of the Near Mint value. Good does not mean Bad! A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear (on a styrene record, the groove will be starting to turn white). A cover or sleeve will have seam splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object. It is a common item, you'll probably find another copy in better shape eventually. Pass it up. But, if it's something you have been seeking for years, and the price is right, get it...but keep looking to upgrade.

Poor (P), Fair (F)   Generally worth 0-5 percent of the Near Mint price. The record is cracked, badly warped, and won't play through without skipping or repeating. The picture sleeve is water damaged, split on all three seams and heavily marred by wear and writing. The LP cover barely keeps the LP inside it. Inner sleeves are fully seam split, crinkled, and written upon.