TVD New Orleans

Jazz Fest releases
2018 lineup!

The New Orleans Jazz and Heritage Festival’s annual rollout of its schedule is one of the mostly eagerly awaited moments on the city’s festival season calendar. Though it will be a little over two months before the “cubes” are released allowing people to figure out their daily plans, today’s announcement gives music lovers plenty to salivate over. The festival is scheduled for April 27–May 6, 2018.

Most people look at the top of the page for the headliners and that’s a good place to start with Aerosmith, perhaps the hardest rocking of the baby boomer bands to ever play the fest, getting lead billing. They share the top line with proof that Jazz Fest has something for everyone—Aretha Franklin, Sting, Jimmy Buffett, Jack White, Beck, and Lionel Richie.

Though it will take more time to ferret out all the hidden gems on the schedule, a quick perusal suggests the festival is reaching out to a Latin American demographic with the inclusion of the Columbian superstar Juanes. He is a rocker who has played the festival before.

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The TVD Storefront

TVD Radar: Nina
Simone, Mood Indigo: The Complete Bethlehem Sessions in stores 2/9

VIA PRESS RELEASE | Nina Simone was only 25 years old in 1958 when she entered Beltone Studios in midtown Manhattan for a one-day recording session for her debut album, Little Girl Blue, on Bethlehem Records. The 14 songs she recorded that day reveal just how well developed Simone’s sound — her powerhouse vocals, her classically-trained piano-playing, her inventive, genre-blind arrangements, and her dynamic personality — already was. Bethlehem, a small and financially faltering jazz label, picked 11 tracks for Little Girl Blue. This unheralded debut yielded Simone’s biggest hit, a cover of the Gershwins’ “Porgy (I Loves You, Porgy),” as well as her last one, “My Baby Just Cares for Me,” which charted in 1987 after being used in a TV commercial.

By the time “Porgy (I Loves You, Porgy)” was moving up the charts, Simone had moved on to larger and financially stronger Colpix Records. Wanting to capitalize on Simone’s hit, Bethlehem made the most of their Simone material. On Nina Simone and Her Friends, they placed “Porgy’ and the three songs left off of Little Girl Lost (“He’s Got the Whole World in His Hands,” “African Mailman,” and “For All We Know”) with songs by her label-mates Chris Connor and Carmen McRae. Between 1959-62, Bethlehem also put out six singles utilizing all of their Simone tracks. To commemorate the 60th anniversary of these recordings, BMG/Bethlehem now has compiled these singles together as Mood Indigo: The Complete Bethlehem Sessions, due out on February 9, 2019.

The 14-track CD version of Mood Indigo follows the chronology of Bethlehem’s single releases, starting with the first A-side “Porgy (I Loves You, Porgy)” and ending with the last A-side, “My Baby Just Cares Me.” The collection contains an alternative take of “He’s Got the Whole World in His Hands,” as well as seven single-only tracks that previously have only been available on the original 45s. The LP version, pressed in standard black and limited edition blue vinyl, holds 12 tracks plus a bonus 7″ replica of Simone’s first single, “Porgy (I Loves You, Porgy)” backed with “Love Me or Leave Me.”

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The TVD Storefront

Haux,
The TVD First Date

“I remember breaking up with my first serious girlfriend when I was eighteen. It was young love, but it hurt nonetheless. I remember I was miserable. During those times it’s always difficult to find any music that doesn’t remind you of that person in some way or another.”

“There was an afternoon when I was over at my friend’s apartment who had a record collection that he treasured. I had never really understood vinyl. It always seemed to me like a pastime meant for people older than us. It felt like my friends collected vinyl for the art—to put it up on the wall—never to listen to it. Anyway, that afternoon my friend put on a Nick Drake record, Pink Moon. I said it sounded familiar while knowing I’d honestly never heard it before.

I remember watching the vinyl spin and realizing I’d never actually listened to a record before. The crackle and warmth made the songs sound so close. Hearing that album on vinyl finally made me feel ok again and ended up inspiring me to buy a record player soon after that.

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TVD UK

UK Artist of the Week: Dream Estate

2018 looks like its going to be a promising year for indie-pop newcomers Dream Estate. Their latest single “You” was re-released at the end of last year and its ethereal beauty is second to none.

“You” opens with lead singer William Tse’s celestial vocals carrying the song effortlessly as the rest of the stylistic musicianship comes into play. From start to finish, this single is swarming with sultry electronics, dazzling harmonies, and twinkling guitar strums. Dream Estate are following in the footsteps of The Japanese House who have been paving the way for a fresh, new ambient pop sound.

William formed Dream Estate in Leeds in 2015 as a solo project but he was later joined by Dan Hvorostovsky (bass, backing vocals), Dan Noble (lead guitar, backings vocals), and Joe Dawson (drums). With a debut EP already under their belt, we can’t wait to see what 2018 has in store for the lads.

“You” is in stores now.

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The TVD Storefront

Graded on a Curve: Dommengang,
Love Jail

Dommengang are a young band, formed in Brooklyn, who now reside in Los Angeles. Their forte is hard rock with psychedelic touches and electric blues at the root; it’s the specialty of countless well-intentioned dullards, but on their new sophomore effort the trio acquit themselves nicely by resisting the urge to wallow in cliché as a virtue. Instead, they embrace the style’s expansive possibilities, with results that register as both familiar and fresh. Love Jail is out January 26 on vinyl and compact disc through Thrill Jockey.

Comprised of guitarist Dan “Sig” Wilson, bassist Brian Markham, and drummer Adam Bulgasem, Dommengang brandish some of the heaviness established by the great rock trios of yore, but without falling victim to the common pitfall of plod. To the contrary, there’s a fleetness to the band’s sound, and on their 2015 debut Everybody’s Boogie, even hints of an experimental side.

Given Wilson’s past collaborations with Ancient Sky, Castanets, and Holy Sons, Dommengang’s experimentation, and propensity for psychedelia, shouldn’t be a surprise. In fact, in 2015 the band were effectively part of the Holy Sons, touring as Emil Amos’ backing outfit (while opening the shows in support of Everybody’s Boogie), a connection that should hopefully reduce any hard rock retread worries.

I won’t deny that prior to listening, the title of their first record triggered thoughts of another band with a Brooklyn affiliation, namely Endless Boogie, but upon investigation there are some marked differences. For starters, where Endless Boogie have a Krautrock tendency informing their jams, Dommengang’s psych inclination, at least on their debut, is more reminiscent of Hawkwind.

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A morning mix of news for the vinyl inclined

In rotation: 1/23/18

Is Vinyl’s Comeback Here to Stay? In 2018, the once-forgotten format feels closer to the mainstream than it has in decades. …For all the ease of online shopping, the human interaction that’s involved with actually stepping into a brick-and-mortar record store is still a big part of vinyl’s appeal. Any metropolitan vinyl aficionado can rattle off a list of beloved institutions that have closed their doors in recent years. But nearly 400 record stores opened nationwide from 2012 to 2017, according to industry officials. “Almost every week I get an email from someone, saying, ‘Hey, I’m opening a store in a couple of months,’” says Carrie Colliton, a co-founder of Record Store Day.

Why the vinyl resurgence is great for bands: Despite music consumption largely shifting to digital, figures show that vinyl sales are on the up with an increase in the UK of more than 26% in last year. Belle and Sebastian’s Richard Colburn tells Sky News why it’s important for indie bands that vinyl makes a comeback. “It’s always been there bubbling away, but of late it’s really, really taken off, which is good, and I think part of the reason is often when you buy vinyl now it also has a digital download,” he says. “So people seem to be collecting vinyl, maybe without playing it so much, but it’s just a nice thing to have. “It’s great for us because bands like us also get to make artwork that works for vinyl, which is what you want.”

Red Deer’s Soundhouse closing its doors on Record Store Day: The owners of The Soundhouse want to shut down their store on a good note. Mike Williamson and Davin Kemshed have operated the music and record store in downtown Red Deer for eight years. In a Thursday Facebook post, they announced they plan to shut down the store on Record Store Day, April 21. The commercial realtors wanted to resurrect Records to the Rafters, which was operated for years by Bill Creighton where the Soundhouse is now located. Though they may no longer be able to put in the effort to keep the Soundhouse going, they are open to passing the torch as Creighton once did with them. They are interested in having discussions about continuing the store with new owners or selling off some of their inventory so someone else can get a head start on something similar.

Vinyl Vault is the latest record store to open inside a Toronto bar: The shop, which specializes in used and vintage pressings, has set up shop on the second floor of Sonic Bar & Cafe. …For the last seven years, Vinyl Vault has existed at the Dixie Outlet Mall’s Saturday and Sunday Fantastic Flea Market in Mississauga. Maurice, who’s worked at the store for the last three years, took over the shop after the former owner passed away in May. She’s been branching out with pop-up stores since then at farmers’ markets and live shows, and took over a pink shipping container for four days at Ontario Place for the Ontario 150 Art & Music Festival last summer. But this is Vinyl Vault’s first seven-day-a-week location. It will also continue at its original location on weekends.

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TVD Washington, DC

Save the Date: The
DC Record Fair returns
to Penn Social, 2/18!

Back for its 9th year is Washington, DC’s (almost) twice yearly record rummage, The DC Record Fair which sets up shop on February 18, 2018 in the cavernous confines of downtown Washington, DC’s Penn Social.

As with each event, we’ll have 40+ vinyl vendors from up and down the East Coast, the DJ line up, the bar, the food, raffle items up for grabs just for coming through the door, plus the random other surprises that make the DC Record Fair a special community event.

Our friends at the Fillmore Silver Spring put together the above feature a while back that outshines any descriptive copy we could devise—hit play.

Mark your calendars! 
THE DC RECORD FAIR

Sunday, February 18, 2018 at Penn Social, 801 E Street, NW
11:00–12:00, Early Bird Admission $5.00
12:00–5:00, Regular Admission $2.00

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The TVD Storefront

TVD Radar: The
24-Carat Black Ghetto: Misfortune’s Wealth
reissue in stores 2/23

VIA PRESS RELEASE | On February 23rd, Craft Recordings will reissue the definitive version of one of the most ambitious, groundbreaking records in the Stax catalog: The 24-Carat Black Ghetto: Misfortune’s Wealth.

Composed, arranged, and produced almost entirely by longtime Isaac Hayes collaborator Dale Warren, the album draws marked comparisons to the lush, transformative arrangements penned by Warren for the seminal trio of Hayes albums, Hot Buttered Soul, The Isaac Hayes Movement, and …To Be Continued. Often cited as one of the first concept albums in the soul, funk, and R&B genres at a time when such boldly artistic statements were reserved for progressive rock bands like Pink Floyd, this ‘soul opera,’ featuring just eight tracks, is an entrancing mixture of lush, orchestral soul ballads and Blaxploitation-era funk grooves, split into vignettes dealing with aspects of everyday life in some of America’s poorest areas. Its unique blend of immaculately arranged grooves and socially conscious narrative launched the album into cult-classic status among DJs and producers who have sampled it for tracks, most recently by Kendrick Lamar, Jay Z, Digable Planets, Dr. Dre, and many others.

This pressing, released as part of Craft Recordings’ “Made In Memphis Series,” features 180-gram vinyl cut at Ardent studios on the original Stax lathe and pressed in Memphis at Memphis Record Pressing. The Old-school style tip-on jacket with printed inner sleeve contains new liner notes by Rob Bowman, Grammy® Award winning author of Soulsville U.S.A.: The Story of Stax Records. Ghetto: Misfortune’s Wealth will also be available at streaming outlets, mastered for iTunes, and in Hi-Res digital (96/24 and 192/24) on street date.

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The TVD Storefront

Craig Wedren,
The TVD First Date

“When I think vinyl, my mind splits into three distinct eras.”

“The first would have to be ‘Mom’s Records.’
My mother has a good ear, and a love of music she got from her father (Grandpa Elmer).
Mom came up in the ‘50s and ‘60s, and was a real radio sponge.
Throughout the ‘70s we would listen to—and sing along with—whatever came on in the car, basically what we now know as ‘Classic Rock,’ although then it was impossibly new; it’s difficult to imagine ‘You’re My Best Friend’ by Queen having just come out, but it had, in my mother’s orange Chevy, some Summer on the way tp Park Synagogue Day Camp.
Her record collection was slim, but essential to me.
The Doors, The Doors
Elton John’s Greatest Hits
Pippin, The Original Broadway Cast Recording
The Beatles, Abbey Road
Simon and Garfunkel, Bridge Over Troubled Water (or maybe Greatest Hits)
And most fundamentally, Hot Rocks by The Rolling Stones.
I still have these albums, and they’re in the DNA of music I make every day, from film/TV soundtracks to Shudder To Think songs, to more personal, experimental stuff of my own.
My new record, Adult Desire, is some kind of shattered, 21st Century inversion of Simon and Garfunkel…at least it feels that way to me.

Let’s call Phase 2 ‘The Formative Years, Part 1 and 2.’
Part 1 begins with family members buying me records on special occasions—Grandpa Elmer loved me so much, he bought me the first Plasmatics album New Hope For The Wretched on an outing one day in Downtown Cleveland.
Butcher Baby.
Aunt Marlene handed me Diary Of A Madman by Ozzy Osbourne like it was a bag of vomit one Chanukah.
And my mom and dad would buy me albums and singles on occasion—chief among them Kiss Alive ll, which I would force my friends to air-play along to (they could be Paul or Peter; Ace and Gene were strictly reserved for ME) when they came over to play, and the Grease and Saturday Night Fever soundtracks.
I just assumed everybody felt the way that I did about music—and these records in particular—so of COURSE my friends would want to air guitar, spit blood, grease their hair and make up line dances all afternoon.
Every afternoon.
I feel like this must’ve been 1977 (I was 8ish) because I associate these particular obsessions—three in an endless parade—with a strange, sad apartment we lived in briefly just after my mom remarried that year.

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The TVD Storefront

TVD’s Press Play

Press Play is our Monday recap of the new and FREE tracks received last week to inform the next trip to your local indie record store.

Blind The Thin King – Hail The Newborn Killer
Nathaniel Bellows – Keep in Mind
Echo Bloom – Comet
Noble Son – Joy In Violence
Dream System 8 – Losing All of You
Lowpines – Broken Wing
HELEN KELTER SKELTER – 21st Century

TVD SINGLE OF THE WEEK:
Alela Diane – Ether & Wood

Narrow Head – Bulma
Red Black Red – Kindness
Eric Benoit – Taos
Felsen – Vultures on Your Bones
Her’s – Loving You (Minnie Riperton Cover)
Jodee Lewis – Buzzard’s Bluff
Paulaa – Know You
Matt Hectorne – Only Way Into Your Heart

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