Image of Gary Wilson - You Think You Really Know Me (Gold Foil Cover) Feeding Tube Records 2 Left

Gary Wilson - You Think You Really Know Me (Gold Foil Cover) Feeding Tube Records 2 Left

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2018 repress with gold foil cover. Gary Wilson's monumental 1977 LP reissued with a glamorously shiny foil cover bearing the original cover art (care of Owen Maercks's well-loved copy), delicately laid out by Scott Allison. Which makes it, perhaps, the last copy you'll ever need. You Think You Really Know Me (also the title of Michael Wolk's 2005 documentary about Wilson) was Wilson's second LP, but the first he recorded as a vocalist, hewing to his own bizarre vision -- a syncretic collision of romance, new wave cocktail jazz, heartbreak, disco porn-soundtrack music, and experimental tape manipulation. Home-recorded in Endicott, NY, the album found a few fans when released, but subsequently became the exclusive purview of record collectors and the women who tolerate them. Beck namechecked Wilson in 1996, which made a few new people scratch their heads. And the album was reissued in 2002. Rediscovery followed, and records, the documentary, and some odd live shows. Most of Wilson's moves are stamped with his unique aesthetic, and are also documented on other three recommended Feeding Tube LPs -- Lisa Wants to Talk to You (FTR 081LP), Forgotten Lovers (FTR 065LP), and Music for Piano (FTR 192LP). But as bodacious as these three albums are, the real root of Wilson's muse is most obvious on You Think You Really Know Me. It is the sound of a 23-year old oddball from upstate New York wrestling with his demons and actually winning. There's nothing quite like it. And it offers a story of hope to every weirdo who hears it. Hallelujah!

"Start with: “You Keep On Looking”

Why it’s worth revisiting: This album remains one of the all-time underground classics, and with good reason – it's equal parts weird and delightful, boasting not only great compositions and performances, abut also a recording esthetic that many have sought to emulate in the ensuing years. Never simply weird for the sake of being weird, Mr. Wilson's compositions brilliantly combine jazzy-funk stylings with avant-garde explorations to create this profoundly cohesive and accessible album.

The brief, abstract, and atmospheric “Another Time I Could Have Loved You” immediately lets the listener know that it’s probably advisable to buckle up, though the irresistible funky bounce of “You Keep on Looking” arrives just in time to signal that although Wilson’s world is an unusual one, it’s also an easy one to fall in love with.

“6.4 = Make Out” has become a calling card of sorts for the genius, and still a fan favorite nearly four decades after its appearance on this classic album. Gary has told us in confidence what the tantalizingly cryptic title might mean, but we’ll leave that part to your imaginations. This track also features an abstract, dreamlike breakdown in the middle of it – a feature that over the years has developed into a theatrical centerpiece for many of Gary's popular live shows.. “When You Walk Into My Dreams” –with its friendly funk and interminably cool lyrics– fortifies the appeal and accessibility of the album, while the abstract darkness of “Loneliness” reminds the listener of Gary’s lifelong interest in John Cage, musique concrète, and the avant-garde.

“Cindy” – another perennial fan favorite – enchants with its classic synthesizers and lyrical dedication to yet another fictional (?) young woman in Gary’s lifelong sonic diary.“You Were Too Good to Be True” is a delightfully soulful instrumental that found new life and listeners in 2015 when Earl Sweatshirt sampled it on his track “Grief”, and “Groovy Girls Make Love at the Beach” is every bit the off-kilter jazz-funk party the title promises. “I Wanna Lose Control” is yet another vintage banger that is nigh impossible to resist, while title track “You Think You Really Know Me” lends abstraction to the compelling push-and-pull that is so characteristic of Wilson’s work. The darkly majestic “Chromium Bitch” could easily have found a home on a 70s B-movie score, with its cinematic flair and evocative character, while the synthy bounce of final track “And Then I Kissed Your Lips” reminds listeners that weird and significant as this music may be, it’s equally fun.

Happy listening, weirdos!
Weird Music Forever Website"