TVD Washington, DC

SUNDAY! The 10th Anniversary of the
DC Record Fair at Penn Social, 1/27!

Where does the time go? The DC Record Fair turns 10 and sets up shop to celebrate at DC’s Penn Social on Sunday, January 27, 2019!

As with each fair for a decade now, we’ll have 40+ vinyl vendors from up and down the East Coast, the special DJ line up, the drinks, the food, and special book signings all designed to put a welcome hurt on your wallet or pocketbook. You’ve been warned.

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.

11:00-12:00: DJ Aisha Karimah
12:00-1:00: Cynthia Connolly (Banned in DC)
1:00-2:00: Danny Ingram (Dot Dash)
2:00-3:00: John Foster (Superior Viaduct Records)
3:00-4:00: Geologist (Animal Collective)
4:00-5:00: Nitekrawler (DC Soul Recordings)

Mark your calendars! 

Sunday, January 27, 2019 at Penn Social, 801 E Street, NW
11:00–12:00, Early Bird Admission $5.00
12:00–5:00, Regular Admission $2.00

RSVP and follow via the Facebook invite and watch this space for updates!


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The TVD Storefront

Demand it on Vinyl: David Bromberg, The Player: A Retrospective in stores 3/1

VIA PRESS RELEASE | David Bromberg is a cultured guitar player, much in-demand session musician, singer-songwriter, and recording artist. His solo recordings—for the Columbia / CBS label, and after that, the Fantasy imprint, until a self-imposed hiatus where he retired to become a violin manufacturer, are musically varied and impeccably played. This set—The Player—is a reissue of a compilation of songs taken from his Columbia Records tenure, 1971-74, and features highlights from his four albums recorded for the label, plus some previously unreleased material. Included on The Player is the track “The Hold-up,” which was co-written, and features former Beatle, George Harrison playing an inimitable slide guitar part.

Also featured is a wonderful, affectionate live version of “Mr. Bojangles,” the Jerry Jeff Walker opus—Walker featured Bromberg in his touring band for several years. Elsewhere, “Sammy’s Song,” a deeply affecting, very sad, and lyrically very frank ballad shows what a masterful composer Bromberg can be in his own right—he even roped in his ol’ mucker Bob Dylan to add plaintive, melancholy harmonica for added texture. The “Yankee’s Revenge” medley of instrumental folk tunes is a superb vehicle for Bromberg’s nimble acoustic guitar work—breathless stuff indeed. His country waltz version of Dylan’s “Wallflower” is another pure delight. Bromberg may not be the world’s greatest singer, but he can inhabit a song along with the best of ‘em, and not being a Pavarotti never did the song’s composer much damage, did it?

Bromberg is a musician whose services as a session player saw him gainful employ from the likes of Dion, Doug Sahm, Bob Dylan, John Hiatt, Richie Havens, Tom Rush, Joan Baez, Link Wray, The Beastie Boys, Pearls Before Swine, Al Kooper, Tom Paxton, Rick Derringer, Emmylou Harris, Willie Nelson, The Eagles, The Band, Jerry Jeff Walker, Bonnie Raitt, Phoebe Snow, Gordon Lightfoot, Carly Simon, and scores of others.

David Bromberg has returned to recording and live work in recent years; The Player: A Retrospective offers a marvellous insight into his early recording career, and provides much evidence of why he is held in such high regard.

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The TVD Storefront

Graded on a Curve:
Robin Trower,
Robin Trower Live

Always with the Hendrix comparisons!

Here all Robin Trower wanted to do after he skipped the light fandango out of Procol Harum in 1971 was play some titanic blooze, but every which way he turned people were calling him a clone of rock’s greatest dead guitarist and how do you think that made the poor guy feel?

Crappy probably.

Here’s The Village Voice’s Robert Christgau, circa 1975: “Is [Trower] experienced? He’s a retread, and the best thing I can say for him is that he makes me remember the verve, humor, and fluidity of the original.”


Well I happen to love the music Trower’s power trio was putting out in the mid-seventies and I don’t give a flying fuck whether people dismiss him as a Hendrix wannabe.

Are there similarities? Sure. But Trower’s doom-laden, Stonehenge-heavy guitar stylings are quite easy to differentiate from Hendrix’s manic-impressive chord splooge, and speaking of Stonehenge, Trower’s vocalist cum bassist James Dewar (formerly of Stone the Crows and a proud member of the Paul Rodgers’ school of blue-eyed soul men) never fails to come off like some kind of death-stalked Druid dude bemoaning the fact that he’s lost in the night and fog and can hear the wolves a’circling.

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The TVD Storefront

TVD Premiere: Tyler Boone, “Jealousy” EP

Nashville-based Tyler Boone creates colorful pop rock blues that soothes the soul. Unlike the many other guitar slinging singer-songwriters, Boone is keen to let his songs breathe, savoring the pauses between the twangy embellishments, like a fine whiskey.

Today TVD has the pleasure of premiering his full EP, “Jealousy,” which is one of the first entries into the South Carolina native’s recording repertoire. His live resume, however, reads like a hit list with opening slots for Sheryl Crow, Hootie & The Blowfish, The Avett Brothers, and Old Crow Medicine Show. One can certainly see the potential of reaching mainstream heights with the EP’s finest and most original cut, the Petty-esque “Moving On.”

Reflecting on the long gestation period for the EP, Boone comments, “Releasing this EP has been a project that began back in 2016 after being asked to perform at the “Firefly Music Festival” in Dover, DE. The band on this project was not only apart of the tours but also the writing aspect. I’ll always be apart of the “Americana” world, but releasing an EP like this in the bluesy and heavy rock vein has always been a goal. It’s still pretty cool that “Moving On” is still climbing on radio across the country.”

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The TVD Storefront

Graded on a Curve:
Lead Belly,
Easy Rider: Leadbelly Legacy Volume Four

Of Lead Belly records, there are a ton, and the reasons why are simple. Foremost, this titan of American music possessed a deep reservoir of songs, but he was also something of a crossover artist, robust enough in style to appeal to subsequent generations of blues fanatics as diversity of subject matter and musical approach ensconced him as a godfather-cornerstone to the burgeoning mid-20th century folk movement. Smithsonian Folkways’ fresh reissue of Easy Rider: Leadbelly Legacy Volume Four is a tidy encapsulation of the man’s aptitude for social commentary, its arrival welcome in this period of severe tumult. It’s available now in the label’s signature tip-on jacket, remastered and with the original notes.

Born in January of 1888, Huddie William Ledbetter was a performing musician prior to the 1920s commercial boom for the blues, which party explains the breadth of his talent beyond the form. Like many early blues players, he’s just as aptly described as a songster (versatility allowing a player to become something of a one-man show in those days), and while an effective multi-instrumentalist, his excellence on the 12-string guitar was matched by the strength of his voice and an ability to consistently communicate the essence of his songs, many of which were handed down from oral tradition.

All of these attributes found Lead Belly fitting nicely into the early US folk scene, but it was probably his relationship to the pre-recording industry roots of folk tradition (he was an eight-year elder of Blind Lemon Jefferson) that sealed the deal. This places him historically in strong and varied company; think Mississippi John Hurt, Son House, and Lightnin’ Hopkins for starters, but with the crucial difference that Lead Belly wasn’t a subject of rediscovery after an earlier dalliance with commercial record makers.

He was discovered, however. Like many others of his circumstance in Jim Crow USA, it was during a stay in prison, with Lead Belly first recorded in 1933-’34 by John and Alan Lomax while serving a term in Angola. These songs weren’t commercially released until the ’60s, but once he’d been given early release in ’34, the man took the ball of interest in his music and ran for a career-securing touchdown.

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A morning mix of news for the vinyl inclined

In rotation: 1/23/19

Coventry, UK | Coventry’s HMV could be saved, administrators say: After HMV’s announcement at Christmas that the company was calling in administrators, Smithford Way’s HMV remains under threat. The Coventry store is trading as normal during the administration period and is staying open for now. HMV’s administrator KPMG has said the entertainment chain could be saved, with concrete offers made this week for its rescue. The music retailer, almost a century old, has fallen victim to a malaise across the British high street – figures released by the Office for National Statistics (ONS) today showed a 0.9 per cent decline in sales month-on-month for December, usually traders’ busiest month. The ONS’s head of retail sales, Rhian Murphy, commented: “Following the increased growth in November, where shoppers snapped up more Black Friday offers as they continue to bring forward their Christmas shopping, retail sales weakened in December.”

Cincinnati, OH | Bogart’s joins vinyl records craze with new record fair: Bogart’s has never been one to shy away from taking chances. Over the years, the historic concert venue gambled on plenty of “unknowns” who later became household names. Prince played Bogart’s in 1979. U2 was there in 1981 while touring for “Boy.” R.E.M. rolled through in 1983, Red Hot Chili Peppers in 1989, Nine Inch Nails opened for Meat Beat Manifesto at the venue in 1990, Pearl Jam played there in 1993 just as “Ten” was exploding and, oh yeah, The Afghan Whigs were pretty much the house band for a few years. Now the concert hall is taking another chance – but this one seems a sure bet – as it transforms into an intimate record expo showcasing thousands of albums, singles, cassettes, ephemera, clothing and more. More than 30 tables chock full of jazz, punk, psych, garage, industrial, blues, hip hop, electronic, prog, soul, world, classic rock and classical will be for sale at the record fair.

Hamilton, CA | The beat goes on for vinyl without the country’s leading distributor. Stores, manufacturers and customers scramble and wonder how long the vinyl fad can continue in the wake of the closure of the country’s leading vinyl wholesaler. The announcement came out of nowhere, like a sudden skip on a shiny LP. One moment, the song was chugging along. The next, there’s a big scratch across a major bright spot in the music industry. Earlier this month, RPM Distribution, the country’s leading independent distributor of vinyl records, abruptly announced it was “closing all operations effective immediately.” It meant orders from record stores across the country would not be processed and the businesses would have to scramble to restock their Christmas-depleted shelves. For the foreseeable future, customers won’t be able to find titles as readily, and the scarcity of supply could bid prices upward by as much as 10 per cent, one retailer predicted. But the big question was whether RPM’s failure might be a sign that the vinyl resurgence of recent years was being tapped out.

Port Coquitlam, BC | Pinball Alley owners hope shop won’t go tilt after sale: The purveyors of Port Moody’s popular repository of the past are hoping their shop won’t fade into history. Pinball Alley Vintage on St. Johns Street is for sale. But Heather Wallace and her husband, Johnny Barnes want to find a buyer who will keep the store open as a going concern. That’s why they’re giving themselves more than a year before they embark on their next adventure — moving their family to Spain. Since opening Pinball Alley five years ago, the little shop crammed with clothes, curios and all manner of knick-knacks, doo-dads and geegaws from the not-so-distant past, along with more than 5,000 vinyl record albums, has become a bit of a destination for people looking to drop into a bygone era, and maybe bring a piece of it home…They debated opening a taco truck but Wallace’s family history with antiques and Barnes’ love for vintage vinyl sent them in a different direction.

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TVD Washington, DC

TVD Live: Alejandro Escovedo with Don Antonio at City Winery, 1/15

“Are you ready for some romantic Italian music?” guitarist Antonio Gramentieri calls out to the audience.

Well, honestly, no.

The crowd at City Winery in DC was actually there for the more Tex-Mex flavored ballads and rockers from longtime songwriter Alejandro Escovedo, who has toured with all kinds of configurations over the years, from bands to duos to solo. But wanting to hire a band to back him on a European tour two years ago, he ran into an outfit from a small town near the Italian alps, Don Antonio.

Not only did they manage to bring a full sound to back Escovedo’s songs, they helped inspire his new album The Crossing. Where once it might have been the story of a Mexican-born kid hitchhiking his way from Mexico to an LA amid the punk boom, now it’s about a trip by young Diego and Salvo, who meet while working at Salvo’s uncle’s Italian restaurant in Galveston. The two share a love of punk rock, beat writers, and filmmakers like Antonioni.

And they go off to LA, “looking for an America they both believe exists,” Escovedo explains. So while it’s not exactly about immigration, he goes on, and more about two kids going after something better. There a number of similarities in the two cultures, as he notes Southern Italy has its own immigration from the African countries south of it.

Escovedo by now has accomplished a lot, produced a lot of great music, and even survived Hep C (he shows a PSA to raise the issue), so concept albums come to him now fully formed. And as a performer who has enjoyed collaboration with others, the international alliance suits him well.

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The TVD Storefront

Demand it on Vinyl:
Taj Mahal, Taj’s Blues
in stores 3/1

VIA PRESS RELEASE | The remarkable Taj Mahal, for over fifty years an intrepid explorer of arcane musical Americana, is the subject of a twelve track compilation of material culled from his lengthy tenure with the Columbia Records label, entitled Taj’s Blues, to be released on Friday, March 1st 2019, on the Retroworld reissue division of the North London indie label, Floating World.

Taj’s Blues features his distinctive interpretation of classic material such as “Statesboro Blues,” “Frankie & Albert,” “Dust My Broom” and others, and offers a superb point of entry to the recorded works of this thoughtful, dynamic musician. Taj began his career as a member of the US West Coast combo The Rising Sons, alongside Ry Cooder, before setting off on a solo career that has endured through to the present day.

He was one of the guest artists on the infamous Rolling Stones Rock & Roll Circus movie, filmed late in 1968, and has always enjoyed a substantial following in the UK and mainland Europe ever since. Alongside Ry Cooder, Van Dyke Parks, Leon Redbone, Asleep at the Wheel, and very few others, Taj has blazed a trail drawing attention to the dusty, often forgotten hinterlands of twentieth century music, some of the finest moments of which are featured on Taj’s Blues.

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The TVD Storefront

The TVD First Date

“My mom had a pretty sizable record collection growing up, and I always loved the look of them, and the stories she had for each record—how she found it, when she bought it, who gifted it to her, when she listened to it.”

“I think the special thing about vinyl records is that, while all music no matter the format will carry with it some sort of emotional association and connection, there’s nothing like thumbing through a box of used vinyl at a flea market—the sounds, the smells, the angle of the sun—you don’t get any of that digitally. It sounds super nostalgic and like I’m romanticizing the past, but those experiences really add a tangible extension of emotion.

Plus, as a teenager I became obsessed with putting the album covers on my wall. That’s the best part for me—vinyl records come with built-in visual art! You can’t put a Spotify playlist on your wall. In high school, I had a whole installation on my wall that included Who’s Next, Led Zeppelin II, The Doors, The Joshua Tree, and a bunch of others. I loved it. There’s just a heightened level of self-expression that vinyl gives you.

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UK Artist of the Week: Jackie Venson

A firm favourite here at TVD HQ, this week we are extremely proud to feature the hugely talented Jackie Venson as our latest Artist of the Week.

Jackie’s most recent single, “A Million Moments” is the first to be released alongside Big Indie Records, a label based in London and Austin who are also the masterminds behind Big Indie Big Nights, a recurring event that showcases their brightest talents completely free of charge. Jackie was proudly part of their US debut at Antone’s in Austin last month where she received rave reviews.

Alas, we digress, back to the single. “A Million Moments” is certainly poppier than Jackie’s previous singles, but it nevertheless showcases Jackie’s incredible guitar skills throughout. The guitar solo at the end in particular feeling instantly reminiscent of one of Jackie’s biggest influences, Gary Clark Jr., of course.

The single is an exciting introduction for what jackie has in store for us in 2019 and we cannot wait. Her ability to combine alt-pop sensibilities with elements of blues, rock and soul is undeniably impressive and will hopefully encourage more artists to blur the lines between genres going forward. Expect big things from this one.

“A Million Moments” is out now via Big Indie Records.

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The TVD Storefront

Graded on a Curve:
David Vassalotti,
Guitar Dream

David Vassalotti is the guitarist in Florida’s 4AD-signees Merchandise. If you’re hip to that band’s amped-up post-punkish pop, you might think you have a rough idea what’s in store on the man’s latest solo LP, but hey, slow down there, partner. Even those who scooped up Vassalotti’s 2016 solo set should be prepared for fresh developments, as Guitar Dream is a pop auteurist statement recalling the boom in singing and songwriting that sprang forth during the original wave of indie pop while sidestepping mere emulation of those glories. A remarkably assured effort that’s vivid without faltering into the grandiose, it’s out on vinyl, compact disc, and digital January 25 through Wharf Cat.

There’s been a steadily increasing Anglo-ist vibe to the work of David Vassalotti’s main gig that attained a level of refinement with their 2016 effort A Corpse Wired for Sound; had that record served as my introduction to Merchandise, it seems likely I would’ve been, if not shocked, then at least mildly surprised that the band are a byproduct of life in the Sunshine State.

This statement unquestionably reinforces my upbringing in an era where geography’s relation to individual/ group dynamics played a much bigger role than today. Fittingly in the context of the considerably more wide-open and connected nature of our current cultural landscape, it’s worth stressing that Merchandise aren’t indulging in a simultaneously highfalutin and low-stakes brand of mimicry. This is also the case with Guitar Dream.

The major diff is that the ten songs shaping up his latest sharpen the focus onto a decidedly indie pop state of affairs. Well, except for one thing; the original UK indie pop wave was populated by bands. Just peruse the participants on the New Musical Express’ C86 tape for evidence. After a few acquainting spins, Guitar Dream registers as descended from the roughly concurrent ’80s wave of pop auteurs but with attention paid to the impulse’s overlap with indie pop. Most immediately, I heard The Smiths.

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A morning mix of news for the vinyl inclined

In rotation: 1/22/19

Oakland, CA | Bandcamp is opening some sort of brick-and-mortar “record shop,” whatever that’s supposed to be: Those digital wunderkinds at online music retailer Bandcamp have done it yet again: Combining bricks, mortar, and, presumably, the raw stuff of pure, inspired genius, the site has announced it’ll soon be opening a physical store for music—a sort of recorded music shop, if you will—in California next month. Located in Oakland, the Bandcamp IRL venture will serve as both a music store and an event space, showcasing some of the hundreds of thousands of groups affiliated with the site, and reveling in the organic novelty of experiencing music in the disgusting, fallible, analog-imperfect flesh. The new Bandcamp location will begin playing host to people’s gurgling organ sacks on February 1, allowing fans of the company’s free-for-all publishing vibe to buy music pressed—as if by some dark and mysterious wizardry—onto vinyl, much like our distant ancestors are speculated to have done.

Newark, MD | Record store cafe planned for old Fusion Fitness location: Though Brian Broad only recently signed a lease to open a record store cafe in Market East Plaza, he has spent the last 14 years thinking about what Long Play Cafe could look like. Broad, a native of Buffalo, N.Y., got the inspiration for his vinyl-infused cafe during his more than 10 years living in the Netherlands. “During the time living there, that’s when Long Play kind of came about because I had friends who owned record stores, friends who owned cafes, and we were trying to figure out a way to bring those things together,” he said, adding that a friend had a cafe that was in need of a helping hand. “I said, ‘Look, man, I would be happy to come in on a weekend, clean the place up, make it look good, get it up to Dutch code’ – which is probably more stringent than an American code – ‘and see what happens,’” he said. “When we did this, I said, ‘This is cool, man, I want to do this. I really want to bring this all together.’ So that’s what we what we did.”

John Carpenter’s They Live Soundtrack Reissue Announced: Death Waltz unveils a newly designed vinyl repress of the cult classic 1988 film. John Carpenter and Alan Howarth’s original score for Carpenter’s cult classic 1988 sci-fi film They Live is getting a new vinyl reissue via Death Waltz, as Forbes notes. A new package designed by Alan Hynes mirrors the film’s truth-revealing sunglasses and subliminal messages. See what it looks like below. The reissue is available on different colors of vinyl on January 30. They Live, starring Roddy Piper and Keith David, is a sci-fi movie where a working class dude fights to reveal the aliens and subliminal messages that hide in plain sight. The film proved influential in popular culture and the world of graphic design. The new reissue follows the just-released book They Live: A Visual and Cultural Awakening, which features contributions from John Carpenter, Shepard Fairey, and others.

Cleveland, OH | Shuffle: Cleveland’s Wax Mage Records Cooks Up Custom Vinyl Creations: Heath Gmucs has worked as a press operator at Cleveland’s Gotta Groove Records for about nine years. Now, he’s turning the mostly automated process of making vinyl into customized, hand-crafted works of art. ‘We’ve put coffee, shredded money and glitter in records’ Vinyl’s resurgence has led to bands and artists venturing away from the traditional black finish to requesting vibrantly-colored records they can sell as collector’s items. Gmucs has mastered the art of making splatter patterns — sprinkling in vinyl scraps during the pressing process to create stripes and swirls. Now, he’s taking his creations to a new level by experimenting with different materials to create intricate designs. Gmucs has his own work station set up at the back of the noisy pressing plant. “If you see my set up, I sort of feel like a chef over here, cooking up vinyl,” he said.

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The TVD Storefront

We’re closed.

We’ve closed the shop for the Martin Luther King, Jr. Day holiday. While we’re away, why not fire up our free Record Store Locator app and visit one of your local indie record stores?

Perhaps there’s an interview, review, or feature you might have missed? Catch up and we’ll see you back here on Tuesday, 1/22.

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TVD Los Angeles

TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

I don’t mind stealin’ bread from the mouths of decadence / But I can’t feed on the powerless when my cup’s already overfilled, yeah / But it’s on the table, the fire’s cookin’ / And they’re farmin’ babies, while the slaves are all workin’ / Blood is on the table and the mouths are all chokin’ / But I’m goin’ hungry, yeah

I hope you enjoy my second mix of 2019—and speaking of mixed, I had quite a few feelings this week. At the top of the week, I heard about this all-star Chris Cornell tribute show. Right from my first glance at the line-up I had an eerie feeling. Not that I was a good friend of Cornell, but I’m an “OG grunge dude” and I did know Chris well enough to imagine the look on the dude’s face seeing teenyboppers playing dress up and singing karaoke on his behalf.

The photos on Instagram and Facebook reminded me of seeing Lorde performing “Kurt songs” with the Nirvana guys at the Rock and Roll Hall of Fame. It’s likely just me, but these days I’m constantly asking who is “smacked out” of their minds here? Well, props to Alice in Chains for keep Layne Staley’s spirit off the red carpet.

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The TVD Storefront

TVD Radar: Leo “Bud” Welch, The Angels in Heaven Done Signed My Name in stores 3/8

VIA PRESS RELEASE | The final effort from legendary bluesman Leo “Bud” Welch, The Angels in Heaven Have Done Signed My Name, is due out March 8, 2019 via Dan Auerbach’s label, Easy Eye Sound.

The ten-song posthumous album draws from the 25-30 songs that were recorded at Auerbach’s studio in Nashville with his band The Arcs, and offers a dynamic showcase of Welch’s gifts. “Working with Bud was a true blessing and I’ll never forget it,” Auerbach shares. “Bud taught us the songs that he’d been playing since he was a kid. He was so soulful. When he sang, you listened. And his guitar playing was steady as a rock.” The Angels in Heaven Have Done Signed My Name is available for pre-order on all formats here.

Leo “Bud” Welch was born in Sabougla, Mississippi in 1932, and was taught to play blues guitar on a homemade one-string “wall” guitar. He began playing gospel music at Sabougla Missionary Baptist Church services when he was 13; six years later, he moved two dozen miles away to Bruce, a tiny town about 50 miles southwest of Tupelo. He would live and work in Bruce while playing at churches, earning a reputation for performing for hours, even through weeklong revivals, without repeating a song.

The gospel-and-blues dynamic would eventually define him, both in terms of music and his life. Beginning in the ’50s he often sat in with blues acts at Bruce’s renowned juke joint, the Blue Angel Ballroom, opening for legends like B.B. King, Howlin’ Wolf, Elmore James, and John Lee Hooker. At one point King invited Welch to come to Memphis and audition to play in his band. Welch, however, didn’t have the money to get a hotel room so he never went because King refused to pay for the trip.

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