The TVD Storefront

TVD Radar: The Podcast with Evan Toth, Episode 38: Bass Race

Laura Benack and Steven Mertens are a duo that go by the name Bass Race. They may have created a 21st century fusion of music on their new release Tender Vittles, but something about them feels comfortably old fashioned. You can feel their familial connections to music and the arts, the respect they have for old-school Los Angeles, and the way they nurture their own relationship in a respectful and fruitful way.

As you’ll hear, their musical influences are rich and tasteful and pull inspiration from some of the best r&b, soul and funk music of the last 50 years: they love their Earth, Wind and Fire and Donny Hathaway records. They lean on analog recording techniques and instruments, but fuse them together with modern-day beats and technology to create something fresh, but pleasantly familiar. There’s something about a duo that’s a little forgotten and underappreciated in today’s day-and-age: Sonny and Cher, Louis Prima and Keely Smith, Ashford and Simpson, or Marty and Eliane: they all work best when they work together; their teamwork makes the dream work.

Laura and Steven bring that same harmonious synergy to Tender Vittles making it more than just a geat record; perhaps the album serves as a love-letter or a representation of the relationship Laura and Steven have together, but it’s also a testament to all of the good things that a mighty duo can accomplish when they make a choice to set aside their own needs and focus on their partner.

Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector, and hi-fi aficionado. Toth hosts and produces The Evan Toth Show and TVD Radar on WFDU, 89.1 FM. Follow him at the usual social media places and visit his website.

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The TVD Storefront

Graded on a Curve: Renegade: The Lives and Tales of Mark E. Smith, Mark E. Smith with Austin Collings

The infamous Mark E. Smith probably wouldn’t have liked you. It wasn’t personal; the late Fall frontman didn’t much like anyone. But his misanthropic ranting and raving didn’t stop his fans from loving him; indeed, the cult of personality that arose around him turned the Fall into Manchester, England’s equivalent of the Grateful Dead. Like the Dead, the Fall attract fanatics–once under Smith’s spell you don’t so much listen to them as make them your life. And Smith did it without a single dancing bear.

Village crank and musical genius in one, Smith’s stewardship made the Fall one of the most consistently brilliant and prolific bands of their–or any–time. Since their 1979 debut Live at the Witch Trials, the Fall have released some three dozen studio LP and more live LPs than I’m inclined to count. Although when one speaks of the Fall what one is really talking about is Mark E. Smith. Enough unlucky musicians (38 line-ups as of 2002) came and went (some were fired, others fled in terror) to fill an old-school telephone directory. As Smith famously said, “If it’s me and your granny on bongos, it’s the Fall.”

The Fall never made much of a dent in the commercial market, largely because they were (and likely to remain) an acquired taste. Not only are they not for everybody, they’re hardly for anybody. I know, amongst my friends and acquaintances, of only one Fall fan, and he briefly played with the band. But if you are a serious Fall fan you are by definition a person who wants to know everything about the band, and by extension its irascible and misanthropic leader Mark E. Smith.

Which brings us to Smith’s 2009 memoir Renegade: The Lives and Tales of Mark E. Smith. Smith was vitriolic, volatile, vindictive, and often petty, and in Renegade he goes attack dog on former band mates, record labels, and the musical press. He also vents his spleen on Manchester bands, television (although he loved Dallas), and the cinema. Yet he emerges a lovable curmudgeon. And just about everything that comes out of his mouth is hilarious.

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A morning mix of news for the vinyl inclined

In rotation: 6/14/21

UK | Fans flock to stores for first Record Store Day of 2021: Fans all over the UK have been queuing outside stores since the early hours. Fans all over the UK have been flocking to record stores for the first Record Store Day event of 2021. The annual celebration of independent record stores across the UK kicked off today (June 12), with a follow up event on July 17 planned. Many fans have been queuing since the early hours hoping to get their hands of some of this year’s special purchases – you can see some of the fans with their purchases below.

Bury, UK | Record Store Day: Vinyl music enthusiasts flock to Wax and Beans to get their hands on exclusive and limited records. Vinyl music enthusiasts made tracks to Bury’s independent record store in the early hours hoping to get their hands on exclusive and limited titles. Today is Record Store Day and this morning people, socially distanced, queued outside Wax and Beans in Bury town centre, some since 10pm to be first in line when the shop opened this morning. The day, with another set to be held next month, is a celebration of the country’s 200 independent record shops. Special vinyl releases are made exclusively for the day. Music lovers from far and wide travelled to the Bury store, including Harrogate, North Yorkshire and Sheffield to buy exclusive vinyl records which are supplied to independent stores. The queue stretched from the shop on The Haymarket all the way down to Silver Street.

Terre Haute, IN | Record Store Day celebrated as a new vinyl shop opens in Terre Haute: Saturday, June 12th marks national record store day. To celebrate the day, a grand opening happened in 12 Points area in downtown Terre Haute! Record Store Day Arts and Music fest took place as the grand opening of the Local Vinyl. The event took place from 12pm and lasted until 5pm. Vinyl enthusiasts gathered and were able to enjoy a new record place locally. Eleanor Jones, the store’s owner, hopes that by opening this new shop in the Wabash Valley, people like herself and others who share her appreication of vinyl records, won’t have to travel outside. “I used to have to drive outside of the state if I wanted to get a record, but by doing this I can welcome others to come and enjoy, while also buying local.” says Jones. You can find the Local Vinyl in 12 Points.

Johnstown, PA | Record Store Day draws music fans to George’s Song Shop: For 90 years, George’s Song Shop has been catering to fans of all musical tastes. Music fans converged on the shop early Saturday for the opening of Record Store Day – with the line of shoppers stretching to the sidewalk. Gwen Stahl, 17, of Clymer, purchased a Twenty One Pilots record. “I’m excited,” she said. Including the main sales area, the shop at 128 Market St. has five floors filled with records, owner John George said. “If we don’t have it, nobody does,” he said. His father, Eugene George, opened the store in 1932 when the Great Depression was at its peak and Bing Crosby ruled the charts. George’s Song Shop has withstood the COVID-19 pandemic. “Business has been pretty good this year, all things considered,” he said. “People have been stuck in doors, so what do you do? Listen to music.”

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TVD Los Angeles

TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

No more pencils / No more books / No more teacher’s dirty looks / Out for summer / Out till fall / We might not come / Back at all

School’s out forever / School’s out for summer / School’s out with fever / School’s out completely

Do you believe in the power of the planets? Aliens? Does Mercury in retrograde ring a bell? In substance I’m with it all, but in truth I find it all to be underlying cosmic matter.

Ok, so what? After a week of many small and often annoying challenges I woke up this AM with a joyous contagion. It hit me that today is the last day of 7th grade for our Jonah.

I once owned a weekly LA club I named 7th Grade. My partner (notorious ’80s DJ Matt Dike) and I loved the name. The concept behind it was that “our ride” started in 7th Grade.

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TVD Radar: Quincy Jones, The Dude 40th anniversary reissue in stores now

VIA PRESS RELEASE | In 1981, Quincy Jones released The Dude, a monumental pop-soul album created with a stellar cast of vocalists, studio musicians, and songwriters. Today, IGA (A&M) / Urban Legends is pleased to announce the 40th anniversary reissue of The Dude; available now here. Featuring bold yellow vinyl with red/orange splatter, the limited edition 40th anniversary reissue also boasts a lithograph of the iconic album art, a gatefold jacket with foil finish, and newly remastered audio. A standard edition single LP is also available, featuring a tip-on gatefold jacket and newly remastered audio.

The Dude was a commercial success, spending 81 weeks on the Billboard Hot 100 chart and peaking at number three. It spawned three top 40 singles, including “One Hundred Ways” with James Ingram, which went on to become Jones’ single biggest hit as a solo artist. The Latin-inspired dance number “Ai No Corrida,” and tender ballad “Just Once” also charted in the U.S., while the horn-driven “Razzamatazz” achieved Jones’ highest U.K. chart rank as a solo artist. Quincy Jones was awarded Producer of the Year at the 1981 Grammys. The Dude was nominated for five Grammys, ultimately winning three: Best Instrumental Arrangement, Best R&B Performance by a Duo or Group with Vocal, and Best Instrumental Arrangement (Accompanying Vocalists).

“One day, Henry Mancini and I were at an art gallery on Wilshire Blvd., and I saw a sculpture that just called out to me. It said, “Hey man, take me home. I want to be an album, I want to be a tune.” I didn’t question it and bought the statue right then and there, because it had an attitude like I’d never seen before. It might sound crazy, but that’s what inspired the name of my 1981 album, The Dude, and you can see the silhouette of the sculpture on the album cover!

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TVD Radar: The Vinyl Series: Volume Two
from Island Records in stores 7/23

VIA PRESS RELEASE | Since its beginnings in Jamaica in 1959, the story of the pioneering Island Records label has been inextricably linked to the story of its founder, Chris Blackwell. Now, Blackwell has curated a series of compilation LPs featuring his hand-picked tracks that correspond with his and Island’s legendary history.

On July 23, Island Records / UMe will release Volume Two of The Vinyl Series, a nine-track album covering the years 1969 to 1973. Volume One, which included pivotal songs from 1962 to 1969, will also be available, and Volume Three will follow later this year. Taken together, the set explores the wide-ranging highlights from Island’s remarkable and extensive catalog. Pre-order The Vinyl Series HERE.

“Just prior to underground rock taking off in the U.K., the folk scene had become extremely strong,” writes Blackwell in the new collection’s liner notes, pointing to the direction that would become a focus for the label during this period—a chapter that would culminate in the breakthrough success of Cat Stevens, whose music Blackwell describes as in the “singer-songwriter mold: not quite folk but coming from that direction.”

This volume of The Vinyl Series includes material by such quintessentially English, acoustic-based artists as John Martyn (the first person Blackwell signed to the new “pink label” Island when the guitarist was just seventeen), Richard and Linda Thompson, and the tragic cult hero Nick Drake; “his genius was eventually recognized,” writes Blackwell, “and he remains popular and revered to this day.”

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Graded on a Curve: Boston, Boston

Remembering the late Brad Delp ahead of his birthday tomorrow, June 12.Ed.

Boston: Home of the Boston Tea Party! And Boston baked beans! But who gives a shit? Boston is first and foremost the home of Boston, the “corporate rock band” that sold like 80 billion copies of its first album, 1976’s eponymous Boston, thanks to its power pop melodies, Brad Delp’s histrionic vocals, band mastermind’s Tom Scholz’s big guitar, and a production job that was slick as jizz thanks to Scholz’s notorious perfectionism—he once made his drummer play the kick drum some 18,000 times because it “Just didn’t sound perfect”—which gave the album the luster and sheen of a fresh-off-the-line Lamborghini. I mean, this baby was so slick you could hardly hold onto it long enough to put it on your record player.

But it sounded great back in 1976, even though I can remember debating with friends over whether Scholz was playing an actual guitar or some synthesized approximation of such, that’s how good his guitar sounded. Me, I loved it when Boston came out, and it still makes me nostalgic because it was the first LP I ever got high to—with my friend Dave beneath the Littlestown Railroad Bridge, and on 8-track no less.

Perhaps the most amazing thing about Boston’s debut is that, despite its reputation for over-production, it was actually recorded for several thousand dollars—a pittance in those days. This is largely because Scholz recorded the bulk of the album in his tiny home studio in Watertown, Massachusetts, sidestepping Epic, which wanted the LP to be recorded in a professional studio. In addition, he recorded the acoustic guitar parts with a $100 Yamaha guitar.

No matter what you think of the LP—within two years the albums sounded unbearably slick to my ears, and I wondered why I’d ever loved it—there is no denying genius of the sheer guitar histrionics and cool riff that make “More Than a Feeling” a staple of FM radio, or that chorus for god’s sake. Boston’s lyrics were never better than mediocre, although they touch on universal teen themes. On the hard-charging “Peace of Mind,” for example, Delp utters the trite lines, “People living in competition/All I want is my peace of mind,” but by god the words sound good coming out of his mouth, especially with Scholz’s guitar roaring behind him.

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TVD Radar: The Podcast with Evan Toth, Episode 37: Kenny Loggins

It’s an understatement to say that Kenny Loggins has achieved massive success in the entertainment industry. He’s been on the Billboard Top Ten charts over 20 times and sold over 25 million records. Many of the songs he’s created have become an important part of the musical fabric of a certain time and place in American history. All that aside, Kenny Loggins has had one of the most successful runs in history creating pop songs for film; so much so, that he’s known in the industry as “The Soundtrack King.”

Mr. Loggins celebrates his soundtrack kingdom by releasing a special vinyl compilation for 2021’s Record Store Day. The album will be called At the Movies and—believe it, or not—collects, for the first time ever, Loggins’ greatest soundtrack hits on vinyl, including “Footloose,” “Playing With The Boys” (Top Gun), “Danger Zone” (Top Gun), and “Nobody’s Fool (Theme From Caddyshack)” plus, it includes a newly recorded version of “Playing With The Boys.”

Kenny and I discuss the new release and his need to purchase a turntable—so he can hear it! But we go further: this industry legend gives valuable insight into how film music is different in today’s climate, he shares some stories about the ones that got away, and also describes the critical music magic that happened right in his own car.

These days, it’s hard to imagine the pre-internet impact and significance these blockbuster movies and songs had. While the films were all-encompassing cultural events, the soundtracks belonged to Kenny.

Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector, and hi-fi aficionado. Toth hosts and produces The Evan Toth Show and TVD Radar on WFDU, 89.1 FM. Follow him at the usual social media places and visit his website.

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The TVD Storefront

Graded on a Curve:
Pink Floyd,
The Dark Side of
the Moon

Back in the day–and I’m talking very back in the day–Pink Floyd’s 1973 stoner masterpiece The Dark Side of the Moon played from behind the door of every pot smoke-filled room in my college dormitory. I say this with authority because I was in every one of the those dorm rooms, which meant I heard The Dark Side of the Moon a lot. And by that I mean I heard it to death, and by the time I got booted out of that dorm for smoking pot in dorm rooms I hated The Dark Side of the Moon so much I vowed to never listen to it again. And for decades I kept that vow.

But you know how it goes. One day your curiosity gets the better of you. You think you’ve thrown The Dark Side of the Moon out with the bong water when one day you wake up and decide to give The Dark Side of the Moon another listen. This is what is commonly called failing to learn from experience. But in the case of The Dark Side of the Moon I was pleasantly surprised. I would hardly call our reunion a joyful one; it was more like running into an old friend you’d grown tired of only to discover he wasn’t the bore you remembered. Indeed, with the exceptions of “Money” and “Time” (both of which had continued to annoy me thanks to incessant radio play over the years), our reunion was actually cordial.

The Dark Side of the Moon, which was produced by the band and engineered by wizard behind the control panel Alan Parsons, is very much a “studio as band member” affair. Gone were the days when Pink Floyd, as guitarist and Syd Barrett replacement David Gilmour put it, went in for “the psychedelic noodling stuff.” Plenty of fans weren’t particularly pleased to discover there would be no more fly-by-the-seat-of-your-pants LPs along the lines of 1971’s Meddle, but The Dark Side of the Moon attracted a slew of new fans and made the guys in the band rich and famous. “Money” indeed.

The Dark Side of the Moon is Head Muzak so potent you can actually smell the reefer, which brings us to the LP’s second track “Breathe (In the Air ”), which is good for a contact high due to its “beanbag chair paralysis” ambience. “On the Run,” on the other hand, employs a bubbly synthesizer and what sounds like a guy running through an airport, which I suppose is Pink Floyd’s commentary on the soulless hustle bustle of modern life.

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A morning mix of news for the vinyl inclined

In rotation: 6/11/21

Tampa Bay, FL | Tampa Bay’s first Record Store Day 2021 drop happens on Saturday: Somehow even a pandemic couldn’t stop Record Store Day in 2020, and the schedule for Record Store Day 2021 has been revealed, along with which shops in Orlando will be taking part.Caution still seems to be key for Record Store Day 2021, the annual spendapalooza for vinyl junkies. What used to be one day has—like last year—been subdivided into multiple drops, where quantities of select exclusives will be released in phases to participating record shops. The main RSD drops this year are happening on June 12 and July 17. The list of exclusive releases that will be available on the two dates just dropped and it’s a doozie, with exclusives from Freddie Gibbs and Madlib, the Grateful Dead, Prince, Lady Gaga, Renaldo & the Loaf (!?) … and a Motley Crue cassette boxset, it has to be said. Most Tampa Bay favorites are offering limited-capacity shopping and different opening hours while other beloved shops like Steelworker will probably sell their unique daily inventory just the same as they do any other day…

Norristown, PA | Vinyl Closet Records will celebrate Record Store Day their way: An independent record store in Jeffersonville is celebrating and customizing Record Store Day June 12, making it completely their own. New releases are traditionally a hallmark of Record Store Day and this year marks the arrival of albums from Black Sabbath and the Buzzcocks. In Vinyl Closet Records terms, the unique promotion started back in 2008 will become “Record Store Day Our Way,” minus the sale of the new releases. “Record Store Day is a national and international event. Each independent record store does something a little bit different,” noted Angela Bucci McFarland, who owns and operates the store at Jefferson Plaza with her husband Jason McFarland. “Some years we do participate in the record store releases, some years we don’t. Because of the pandemic and business being slow, we didn’t have the revenues to invest. We always turn it into a party though.”

Columbia, SC | Calling all SC vinyl junkies! Here’s where to go on Record Store Day in the Midlands: Of all the days that celebrate some beloved part of living that aren’t national holidays, Record Store Day might command the most loyal following. Record Store Day is June 12. A regular at Papa Jazz Record Shoppe in Five Points camps outside the store with his mom for days to get the exclusive vinyl that comes out on Record Store Day, shop employee Preach Jacobs said. The morning of Record Store Day, the shop will have a line along the block. The first Record Store Day was held in 2008. As internet shopping increasingly threatened brick-and-mortar stores, the creators of Record Store Day wanted to celebrate the people who own and work at record stores and the stores’ cultural contributions to towns and cities. The creators also wanted to give local stores a financial boost.

Corbin, KY | White Rabbit Records selected to participate in Record Store Day: White Rabbit Records will be one of 21 record stores in Kentucky to participate in the national Record Store Day 2021 on June 12 and July 17. “It is a day where there are exclusive albums released, and they are only released on that day,” said Teri Anne Hensley, one of the owners of White Rabbit Records. “They are not repressed ever again after that. It may be an album that has already been released, being re-released on a different color vinyl or with a different cover. It may also be something that has never been released before.” Hensley emphasized the albums that are part of the event will never be repressed, and they will only be available at stores that are Record Store Day participants. “For big collectors, it is a really big deal to try to get some of those exclusive deals,” said Hensley. Hensley said that getting to participate is a big deal for the store.

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The TVD Storefront

TVD Radar: George Harrison, All Things Must Pass 50th anniversary editions
in stores 8/6

VIA PRESS RELEASE | Recorded and released in the wake of The Beatles’ April 1970 dissolution, George Harrison’s landmark solo album, All Things Must Pass, is a fully realized statement by a bold and audacious artist. Produced by Harrison and Phil Spector, the 23-track All Things Must Pass stands tall a half century later as an epic, ambitious expression of Harrison’s remarkable gift for sheer songcraft, powerful spirituality and a celebration of both his inimitable individuality and unique camaraderie with his fellow musicians.

All Things Must Pass was an overdue artistic release for George as a songwriter and musician. The first-ever triple studio album, All Things Must Pass overflows with a voluminous range of ideas, musical styles and influences, spanning rock ‘n’ roll, country, gospel, blues, pop, folk, R&B, Indian classical music, and devotional songs. Despite the album being wildly successful and Harrison’s affection for it, he would write in the liner notes for the 30th anniversary remaster, released in 2001, “I still like the songs on the album and believe they can continue to outlive the style in which they were recorded,” adding however, “it was difficult to resist re-mixing every track. All these years later I would like to liberate some of the songs from the big production that seemed appropriate at the time”.

Decades in the making and lovingly crafted by the Harrison family, All Things Must Pass has now been completely remixed from the original tapes for a stunning suite of 50th anniversary releases that fulfills Harrison’s longtime desire. Executive produced by Dhani Harrison, product produced by David Zonshine and mixed by triple GRAMMY® Award-winning engineer Paul Hicks (The Beatles, The Rolling Stones, John Lennon), the new mix transforms the album by sonically upgrading it – making it sound brighter, fuller and better than ever before.

Releasing August 6 via Capitol/UMe, All Things Must Pass 50th Anniversary Edition will be available in a variety of formats:

UBER DELUXE EDITION | Exclusive to GeorgeHarrison.com, uDiscover, and Sound of Vinyl, All Things Must Pass 50th Anniversary Edition will be available as a very limited Uber Deluxe Edition box set, which includes the album on 8LP (180g) and 5CD + 1 Blu-ray audio disc housed in an artisan designed wooden crate (approx. 12.4” X 12.4” X 17.5”). The collection explores the 1970 album sessions through 47 (42 previously unreleased) demos and outtakes, offering an inside look into the creative process. The Blu-ray allows fans to experience the main album in high-res stereo, enveloping 5.1 surround sound and Dolby Atmos mixes.

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TVD Radar: Buena
Vista Social Club: 25th Anniversary Edition

2LP in stores 9/17

VIA PRESS RELEASE | World Circuit Records celebrates the quarter-century anniversary of the landmark Buena Vista Social Club with a collection of 25th Anniversary Editions, out September 17 and comprised of 2LP + 2CD Deluxe Book Pack, 2CD Casebook, 2LP Gatefold Vinyl and Digital formats.

These definitive editions are timed to celebrate the 25th anniversary of the album’s recording and contain the original album as remastered by Grammy-winning engineer Bernie Grundman as well as previously unheard tracks from the original 1996 session tapes, including “Vicenta,” which debuts today; listen to/share “Vicenta” and pre-order the record HERE. Other features across the formats include new liner notes, previously unseen photography and lyrics, with extended biographies, art prints and a written history of the legendary original Havana club available exclusively within the Deluxe Book Pack format.

“Vicenta” is the first of the previously unheard tracks taken from the 1996 album sessions, which have been selected for these editions by producer Ry Cooder and executive producer Nick Gold. A vocal duet between Buena Vista stars Eliades Ochoa and Compay Segundo, the song is a classic composition by Segundo and follows the story of a well-known fire which, on April 1, 1909, destroyed almost all of the village of La Maya, close to Santiago de Cuba, where Eliades Ochoa was born and lived as a child amongst plantations of banana, coffee and cacao.

The history, authenticity and mystique of Buena Vista Social Club burns as brightly today as ever for fans both new and old. On March 26, 1996, the trio of Cuban bandleader Juan de Marcos González, American producer and guitarist Ry Cooder and British producer and label owner Nick Gold assembled an impromptu group of Cuban musicians at Centro Havana’s historic 1950s EGREM/Areito studios.

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TVD Radar: John Coltrane, Another Side
of John Coltrane
2LP in stores 8/20

VIA PRESS RELEASE | While John Coltrane’s legacy largely focuses on his innovative and influential work as a leader, the saxophonist and composer began his career as a highly respected sideman, who rose to fame playing alongside some of the greatest names in jazz. Craft Recordings’ forthcoming release, Another Side of John Coltrane, explores this aspect of the trailblazing artist’s career and spotlights some of his best work in sessions led by Miles Davis, Thelonious Monk, Sonny Rollins, Red Garland, Tadd Dameron, and Art Taylor.

Set for release on August 20th and available for pre-order today, Another Side of John Coltrane will be offered on vinyl as a 2-LP set, on CD, and across digital platforms. A collectible, yellow-colored pressing (limited to 500 copies) can be found exclusively at CraftRecordings.com, while Barnes and Noble will offer an opaque gray exclusive (also limited to 500). The vinyl editions include two bonus tracks, not featured on the CD or digital: “Nutty” (from Thelonious Monk with John Coltrane) and “Birks’ Works” (from Soul Junction by the Red Garland Quintet ft. John Coltrane and Donald Byrd). The first instant grat. single “Oleo” (with The Miles Davis Quintet) is available to stream/download today.

The collection is produced by Nick Phillips, mastered by the GRAMMY®-winning engineer Paul Blakemore, with lacquers cut by Clint Holley at Well Made Music. Another Side of John Coltrane also includes new liner notes by the award-winning journalist, author, and Jazz Journalists Association’s Lifetime Achievement Award recipient, Doug Ramsey.

Ahead of the release, fans can stream or download the instant grat. single, “Oleo.” Written in 1954 by Sonny Rollins, who—like many jazz artists—based the composition on the chord structure of George Gershwin’s “I Got Rhythm,” the high-energy tune has since become a standard. This particular version, which appeared on Relaxin’ with the Miles Davis Quintet, was recorded in October 1956 at Rudy Van Gelder’s studio in Hackensack, NJ, and features Davis on trumpet, Coltrane on tenor sax, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums.

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TVD Radar: The Roots, Do You Want More?!!!??! 3LP and 4LP reissues in stores 6/25

VIA PRESS RELEASE | It’s been 26 years since Do You Want More?!!!??!, the groundbreaking second studio album and major label-debut by The Roots.

Originally released on January 17, 1995 via DGC Records, Do You Want More?!!!??! brought The Roots’ neo-soul bohemian zest to life and established them as leading figures of hip-hop-jazz. The album which peaked at #22 on Billboard’s Top R&B/Hip Hop Albums chart, features their singles “Distortion To Static,” “Proceed” (considered one of their most signature recordings), and the rap ballad “Silent Treatment.” Led by MC Tariq “Black Thought” Trotter and drummer Ahmir “Questlove” Thompson, the Philadelphia rap crew are going back to where it began with a 3LP, 4LP and a digital deluxe collection of Do You Want More?!!!??! to be released on June 25, 2021 via Geffen/Ume. Pre-order Do You Want More?!!!??! here.

Going back to the vault, this deluxe edition is drawn from the original recordings and features eighteen bonus tracks curated by Questlove; some of which have never been released and others that have never previously been available digitally. The 3LP deluxe vinyl edition features five bonus tracks—“Proceed II Feat. Roy Ayers,” “Proceed III,” “Proceed IV (AJ Shine Mix),” “Proceed V (Beatminerz Mix),” along with five remixes of “Silent Treatment”—plus a 24-page booklet featuring images taken by Mpozi Tolbert, essays by Questlove and Black Thought as well as track-by-track commentary.

While the 4LP edition features all of the above plus the additional eight bonus tracks; “In Your Dreams Kid (I’m Every MC),” “The Ultimate (Original ’94 Version),” “……(dot dot dot…on & on),” “Pffat Time,” “Swept Away (Original Draft),” “It’s Coming,” “Lazy Afternoon (Alternate Version),” and two remix versions of “Distortion To Static.”

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The TVD Record Store Club

Graded on a Curve:
New in Stores for
June 2021, Part Two

Part two of the TVD Record Store Club’s look at the new and reissued releases presently in stores for June 2021. Part one is here.

NEW RELEASE PICK: Ìxtahuele, Eden Ahbez’s Dharmaland (Subliminal Sounds) Eden Ahbez remains best known for writing “Nature Boy,” which was a smash hit in 1948 for Nat King Cole, though in connection with that achievement Ahbez was noted for a proto-hippie lifestyle that included mysticism, health foods, and extended living outdoors (you know, in nature). The Swedish exotica band Ìxtahuele (amongst its members is Mattias Uneback, whose highly enjoyable Voyage Beneath the Sea came out last year, also on Subliminal Sounds) has undertaken the recording of Ahbez’s late compositions, which were located in the Library of Congress by this album’s coproducer (and liner scribe) Brian Chidester. The results are deftly played and with obvious love and respect for the material. Fans of Martin Denny will surely be pleased, but a song like “Dharma Man,” sung by King Kukulele, gives a lighthearted (some might say novelty) spin to the clear influence of Kerouac’s The Dharma Bums, and delivers a tune that would’ve fit very nicely on Rhino’s The Beat Generation box set. Like, cool, daddy-o. A-

REISSUE/ARCHIVAL PICKS: V/A, Chicago/The Blues/Today! (Craft) Recorded for the Vanguard label in 1965 at the behest of Sam Charters, the three LPs in this collection were initially released as separate volumes. They were first reissued together in 1999, and now here they are again for RSD in a triple gatefold sleeve with two sets of notes by Charters and some words from critic Ed Ward (RIP). Issuing them together makes for a more expensive package, but that’s really beside the point, as anybody with an interest will want all three. Bluntly, this material from nine Windy City blues bands is indispensable from side one to side six. The artists tapped are Junior Wells, J.B. Hutto, Otis Spann, James Cotton, Otis Rush, Homesick James, Johnny Young, Johnny Shines and Big Walter Horton with Charlie Musselwhite. Of course, guitars, mouth harps, and pianos are well represented, but Young’s mandolin adds some unexpected breadth. Along with a handful of LPs put out on Delmark by Bob Koester (RIP), this set exemplifies the sound of the Chicago blues in the 1960s. It still delivers an astonishing kick. A

Michel Legrand, La Piscine OST + “Un Homme Est Mort” (WEWANTSOUNDS) Legrand, who passed in 2019, remains one of the greatest of film composers, and one of the best at utilizing the legit essence of jazz. The list of his exceptional scores is long, so instead I’ll mention that this is one of his less celebrated OSTs, at least in the USA, where the 1969 psychological thriller directed by Jacques Deray doesn’t have much of a reputation, at least not until very recently, with its 2021 restoration and theatrical rerelease, 4K Blu-ray from Criterion, and the LP at hand (the bonus RSD-only 45 offers two cuts from a 1972 Deray film scored by Legrand). Starring the smoking hot bods of Alain Delon and Romy Schneider, a soundtrack positively brimming with chicness was required, but Legrand delivers more, grabbing violinist Stephane Grappelli, calling on his vocalist sister Christiane Legrand (a member of the Swingle Singers), and even getting Delaney Bramlett to sing on one of the album’s two pop-rock numbers (but it’s the other one, “Ask Yourself Why,” sung in English by Sally Stevens, that’s the gem). The 45 is a total smoker. A

The Raybeats, The Lost Philip Glass Sessions (Ramp Local) NYC’s The Raybeats featured George Scott, Don Christensen, and Jody Harris, all fresh from the Contortions, and also included Pat Irwin, who played with Scott in 8-Eyed Spy (Lydia Lunch’s band after Teenage Jesus and the Jerks), so the No Wave connection is sturdy. But if you’re expecting pure abrasiveness and alienation, please understand that The Raybeats were tagged at the time as a neo-surf group. One could also call them a party rock combo, a description that points ahead to Irwin’s later work with the B-52’s. Also, Danny Amis, who replaced Scott after his death by overdose, went on to play in Los Straitjackets. Of the seven tracks here, Amis plays bass on a cover of Link Wray’s “Jack the Ripper” and guitar on “A Sad Little Caper.” Those and two more cuts, “Pack of Camels” and “Black Beach,” were produced by Philip Glass, who also played keyboards (and released it all in 2013 on his Orange Mountain Music label, though this is its first time on vinyl). A few of these moves are showing their age, but overall, this hangs together quite well. A-

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