TVD Los Angeles

TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

It’s Friday the 13th with a full moon on the rise—and I gotta say, I’m in a pretty celebratory mood. I’ve dug the fall in LA. The light at sunset is heavenly.

Tomorrow we’re throwing a party for my wife. It’s a special birthday, and I’m happy to report I think I got it all together. The spot, the cake, the card, the gift—and yeah man, the Sidels have the music! If you have the moon and the music on your side? Fuck it, just rock and have a party!

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TVD Live Shots: Pete Doherty and Carl Barat at Hackney Empire, 9/6

My quest to see The Libertines live in the UK since I moved here three years ago got a bit closer to completion. Earlier this year I saw a spectacular show from Pete Doherty and the Putra Madres, and now I can check Pete and Libertines frontman Carl Barât off the list.

It was billed as an acoustic gig, so I accepted the invite thinking two dudes, two guitars, one stripped-down acoustic set. I couldn’t have been more wrong. As part of an event series called SOMEWHERE, which is known for hosting a series of unusual shows around the world, somehow figured out how to light 1001 candles to illuminate the stage in one of the most beautiful venues in London, Hackney Empire.

Let me start by saying that I was there for the second night of two sold-out performances in what one would consider an “intimate” venue for the primary two Libertines. It’s also worth noting that you have to live in London to appreciate how much this town loves Mr. Doherty. From the infamous breakfast photo in Margate which would later become a full-on work of art as a mural, to just last week when the tabloids reported Pete on a Boris bike riding through central London with two huskies. There was one Tweet that captured this fascination with the musician perfectly, “It’s Pete Doherty’s world, we just live in it.”

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TVD New Orleans

Miles Davis: Birth of the Cool screening set for the Zeitgeist Theatre, 9/16

World-renowned drummer Brian Blade and New York-based saxophonist Joel Frahm will join some of New Orleans’ finest musicians in a musical tribute to the legendary trumpeter Miles Davis on Monday night. A screening of the acclaimed new documentary, Miles Davis: Birth of the Cool will follow the performance. The evening at Zeitgeist Theatre begins at 6:30 PM.

The band also features trumpeter Ashlin Parker, pianist Matt Lemmler, bassist Nathan Lambertson and other guest artists. They will pay homage to the late great trumpeter’s music by bringing to life the atmosphere and mood that made his music so distinctive.

Miles Davis: Birth of the Cool is the latest effort from the award-winning Stanley Nelson who also directed The Black Panthers: Vanguard of the Revolution. HIs latest work has been receiving rave reviews since it was released in August.

The film explores why Davis continues to be a relevant voice in today’s world. It features archival photos and home movies shot by Davis and his colleagues as well as his manuscripts and original paintings. It also includes interviews with a who’s who of famous musicians including Herbie Hancock, Wayne Shorter, Ron Carter, Carlos Santana, members of The Roots, and Flea of the Red Hot Chili Peppers.

Zeitgeist Theatre is located at 6621 St. Claude Ave. in historic Arabi, Louisiana. Tickets are available here.

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The TVD Storefront

Graded on a Curve: Daniel Johnston,

Today we remember Daniel Johnston who passed away on Wednesday, September 11, 2019 with this look back from our archives.Ed.

Of all the fine stuff scheduled to hit the racks last week for Black Friday, one item particularly stood out in large part due to its belated appearance on vinyl. In all the excitement and hubbub of the holiday festivities, it was easy to miss the last minute cancellation of this record, shifting the focus below from an appreciation of a long-delayed vinyl slight to a consideration of a release whose LP coronation continues to be denied. The subject is Fun, the sole major-label entry in the discography of Daniel Johnston, originally issued by Atlantic Records in 1994. Hopefully its eventual emergence on vinyl comes sooner rather than later.

While I won’t be so bold as to say there was no middle ground, the reaction to Daniel Johnston’s original home recordings did largely run to extremes. On one hand, there were those who championed a new and startlingly unique pop singer-songwriter. On the other were the strident doubters and the often exasperated reactions of folks who considered it all a big put on.

Johnston’s advocates largely felt that his crudely recorded homemade cassettes were just as legitimate and deserving of attention as anything being produced for mass consumption in the spacious multi-track studios of the big label machine. Many listeners not smitten with his considerable output identified it as another example of underground tastemakers locating a marginal artist and then lording it over those with enough sense to not buy into the hype.

As more people became acclimated to the uniqueness of Johnston’s work, either through the stumping of music journalists and critics, the name dropping of assorted clued-in musicians, and via his now legendary appearance on MTV’s The Cutting Edge Happy Hour, where he performed during his lunch break at McDonalds, it started to become clear to some of the previously doubtful that the passionate reaction of so many was indeed sincere, the music having struck a deep chord. A fair number of these agnostics listened again, and what had initially sounded strange shifted into something special.

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The TVD Storefront

Needle Drop: Sirenety,
“Watch It Burn”

London-based singer-songwriter Sirenety backs her serene vocals with eerie ambience, imbuing her angelic electro pop with a slightly aggressive edge.

“Watch It Burn” is her fourth stand-alone single, each subsequent release revealing a more impassioned artist. This track picks up the mantle from Portishead and Mandalay, taking their deep sonic exploration even further into the darkness.

Sirenity is clearly a fan of Gothic themes and low slung production, but does a fantastic job pairing those elements with the candid and direct lyricism typical of British pop. “It wasn’t that long ago, you promised me the world,” she sings in a hauntingly empowered timber. “You don’t get to just walk away.”

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The TVD Storefront

Graded on a Curve: England Dan and
John Ford Coley,
Nights Are Forever

It speaks volumes about my horrible and tortured existence that England Dan and John Ford Coley was the first musical act I ever saw live. Is that sad or what? I mean, let’s ignore for a moment the well-marinaded urinal cake that is their music–just take a glance at that cover! What with their sex predator lady ticklers and nausea-colored leisure suits, soft pop’s saddest-looking Mutt and Jeff act look like convicted pedophiles at a junior high prom, lurking in the shadow of the punch bowl for the chance to hand out free mustache rides.

That said, I actually liked their big hit single “I’d Really Love to See You Tonight” when it came out in 1976, and I still brighten up when I hear it in my local supermarket. The album it’s attached to, not so much–if nights are forever, so is this baby–listening to it, I fell prey to the awful conviction that dawn would never come.

Nights Are Forever is a little bit country, and a little bit something else, and suffice it to say the something else is something you don’t want in your ears. If I had to use a color to describe the music on Nights Are Forever, I’d direct you to England Dan’s leisure suit, which any clothier worth a toss would adjudge an off-shade of shit.

Perhaps I’m being too harsh. One might more charitably describe Nights Are Forever as bottom-shelf Yacht Rock, and blandly inoffensive enough if you’re only listening to it with that part of your mind usually reserved for listening to someone describe, in excruciating detail, their latest master cleanse. As one would expect, most of these songs are as sensitive as chafed balls, and, should you be dumb enough to pay close attention, almost as painful.

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A morning mix of news for the vinyl inclined

In rotation: 9/13/19

Bridport, UK | Community group unsuccessful in saving Bridport Music from closure: Hopes to save a much-loved record store have been dashed. A community group of investors has been unsuccessful in its efforts to take over Bridport Music. It was announced last month that the shop faces closure, should a buyer not come forward, and a group of interested parties came forward with an interest in taking over the business as a community benefit society. Following an initial public meeting at The Ropemakers, a steering committee was formed. According to campaign co-ordinator Josef Davies-Coates, those who attended had experience in community fundraising, retail in the music market and business start-ups and finance. Following a number of meetings an offer was put forward to the owners but ‘regrettably’ it was not accepted, said Mr Davies-Coates. “In view of the shortness of the time period allowed for negotiations, it has not been possible to reach any resolution,” he said.

Ashby, UK | Retro vinyl records and CDs to be sold off and this is when: If you’re a lover of retro vinyl records, then you will want to put this date in your diary, as tens of thousands of records and CDs are to be sold off. More than 40,000 records and CDs are set to be sold at an auction at The Attic, in Ashby , after the independent music shop closed in August. The Attic was named the eight best independent music shop in the country during its four years in the market town. New and pre-owned vinyls and CDs will be for sale, with everything from 50s classics, Motown, 1980s pop and even death metal on offer. Valuer Stuart Hay said: “The auction is an absolute must for anyone who likes music. “There’s 40,000 new and pre-owned records including picture discs as well as 12ins and 7ins vinyl and there’s also CDs – six lots of 400-plus CDs each. “There’s every sort of music you can think of – 1950s, easy listening, 1980s pop, punk and death metal. “One of the lots features 37 Beatles LPs. There really is something for everyone.”

Chicago, IL | For First Time in 30 Years, Vinyl Records Being Made in Chicago: Andy Weber has always loved vinyl records. Listening to them “allows you to slow down, sit back and listen to a side for 30 minutes,” he says. “Then sit back with your record jacket just like it’s a fine book to read.” As a Chicago DJ at CHIRP Radio, Weber has heard a lot of frustration from artists in the local music scene when it comes to releasing their music on vinyl. “Friends in bands would say they aren’t going to do vinyl because of cost and because of six-month wait times, and horror stories of shipments showing up damaged and the record plants not taking responsibility for it,” he said. So Weber and some friends started their own record plant, the first in Chicago in about 30 years. Production at Smashed Plastic began in February, and they say 90% of their orders have been from Chicago bands and labels. Co-owner John Lombardo also owns a small label. He says it amazes him that vinyl works at all.

Vinyl Record Sales Surging In 2019: Sales of vinyl records continue to surge in 2019 and are likely to outsell CDs for the first time since 1986, according to the Recording Industry Association of America’s (RIAA) mid-year report. Vinyl records made $224.1 million on 8.6 million units in the first half of 2019, gaining ground on the $247.9 million on 18.6 million units brought in by CD sales. Vinyl sales have risen 12.9% in the first six months of 2019 while CD sales have been stagnant. If these numbers continue to hold, actual honest-to-gosh records will shortly be earning more money than compact discs. Paid subscriptions to streaming platforms like Spotify and Apple Music still account for 62% of industry revenue but vinyl is rapidly regaining its popularity as a listening format. It only makes up four percent of recording industry income but fans of the medium are finding vinyl albums to be a more connected and emotionally invested way of consuming music than online streaming. Records are sexy, intriguing, and exotic to those who missed them the last time around and deliver a tactile music experience not attainable via streaming. Also, vinyl has a warmer, clearer sound than streaming technology can produce, which makes listening to records a gourmet meal for your ears

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TVD San Francisco

TVD Live Shots: K.Flay, Houses, and Your Smith at Fox Theatre, 9/7

With a new album fresh from the hopper, pop artist K.Flay brought her “Solutions Tour” to Oakland’s Fox Theatre for her largest hometown headliner to date.

Your Smith kicked off the evening with some guitar and electronic wizardry to back up her solo vocal performance followed by Houses from Chicago, who delivered a mellow set that lulled the Oakland crowd into a temporary state of calm.

But that calm was short-lived because promptly at 10PM, K.Flay and her band consisting of a drummer and a bassist, climbed on top of their Q*bert inspired stage and prepared to unleash. The band tore straight into “Not in California” from the new album as K.Flay stomped atop the massive riser which changed color from white to blue.

Clearly already fans of the new material, the crowd went nuts as they sang along. Good thing too, because they were going to get a lot of Solutions as the night progressed—the whole album, in fact.

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TVD New Orleans

Shake It from The New Mastersounds in stores tomorrow, 9/13

The New Mastersounds, the funk and groove band from Leeds, England with a deep affection for New Orleans music, will release their latest recording, Shake It, on Friday, September 13. The album will be available on vinyl as well as other formats on producer and guitarist Eddie Roberts’ label Color Red.

The new record is a departure from their well-known focus on slinky instrumental grooves. Shake It features a singer, Lamar Williams Jr., the son of late Allman Brothers bassist Lamar Williams, on most of the cuts. Williams brings a powerful presence to his tunes and gives longtime listeners fascinating insights into the band’s perspective through the lyrics.

The band also enlists a horn section featuring Mike Olmos on trumpet, a regular guest who has already appeared on albums such as Renewable Energy and Made For Pleasure, and New Orleans’ own Jason Mingledorff on saxophone and flute. The horns add a lot to the proceedings through compelling solos and strong section work.

While the additional musicians including Williams, Jr. freshen up the band’s signature sound, The New Mastersounds don’t leave fans of the old school jazzy soul in the lurch. The production opens up plenty of space for Eddie Roberts’ sterling guitar work and the punchy organ playing of Joe Tatton.

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The TVD Interview

Ken Stringfellow: Touched on Tour

Typically half the creative engine of The Posies, Ken Stringfellow has both played with a number of other bands, including R.E.M., the reconstituted Big Star and the Minus 5. But he’s also found time to put out a few solo records over the years—one of which seemed destined to be buried in a day of national tragedy.

He’s back to play that album, the 2001 Touched, on a solo tour that kicks off September 12 in Nashville and includes a September 21 show marking the 25th anniversary of the Mercury Lounge in New York. We reached him in Europe just before he flew over.

Seems like you’ve got a lot of dates on this solo tour.

Yeah, it’s ambitious. Sixty shows, or something like that. It all started from one show, which has to do with my album Touched, which has the dubious release date of September 11, 2001. Waking up that day, I had bought a bottle of champagne to celebrate the release. My phone was ringing as I woke up, and a friend of mine was like, you probably need to turn on the television. I can’t really explain what’s happening right now. Of course, we all know how the day was. It completely torpedoed my plans. and my solo career was probably forever stunted by this. Of course, that’s not such a big deal—I’m still alive. Many people suffered far worse things on 9/11.

People didn’t really know what to do with themselves, which you probably recall, the first couple of days, they were just sort of processing it. A lot of people canceled their tours immediately. I remember that Nick Cave announced he was canceling his U.S. tour. People just didn’t know if it was safe or what was happening next. I decided to carry on. So as soon as planes started flying again, on Friday—9/11, you’ll recall was on a Tuesday—I got on a plane and went to New York and picked up my gear. New York was still burning basically. When I landed at Newark, you could still see smoke coming out of the crater.

The tour taught me a lot of things, and playing this particular record taught me a lot of things about this record. Suddenly it seemed like this record was a response to 9/11 in a lot of ways. There was a lot of feelings of grief and healing. It suddenly seemed very cosmic and appropriate being on tour at this time for people who needed some messages that not only encapsulated their grief, but also offered a little bit of caress as well. It was not a time for Limp Bizkit.

But anyway, I got an invitation from the Mercury Lounge in New York to play for their anniversary this year. And the Mercury Lounge is where I played on that tour, nine days after September 11. It was kind of an intense moment. It was probably the first moment where people could deal with a show, or anything emotional. People were way too raw. I had played a couple of shows, Boston and Hoboken and Philadelphia before New York, in between September 15 and 20 and people weren’t really ready. But getting to New York September 20, they needed something. So for people who were there, and it wasn’t a bad turn out—a lot of people who had tickets may not have shown up. But the people who were there, say 75-100 people, it was very intense that is burned into a lot of people’s brains. Because I’m connected in their minds to that week, in a good way.

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TVD Premiere: Chloé Caroline, “Forgive Me”

2019 may have been a bit of a nightmare year for us so far, but one great thing to come out of it is the rise in mental health awareness, especially within music. So many artists have been incredibly open in their songwriting, encouraging people from all walks us life to open up. Californian native Chloé Caroline is one of these artists and we’re incredibly pleased to be premiering her new single “Forgive Me” on The Vinyl District today.

It’s happened to all of us, some days you just wake up feeling rubbish and you can’t shake that feeling of anxiety. It’s completely normal to feel this way and talking about it is incredibly important, not just for yourself, but for loved ones around you to understand and accept. Chloé evokes this beautifully in her latest ballad “Forgive Me,” a song that shines the light on mental health struggles, perfectionism, and societal expectations.

Not only is the narrative incredibly imperative, it’s also stunningly written. Chloé’s powerfully distinctive vocals, reminiscent of Taylor Swift and Sheryl Crow, ooze emotion as they soar over the warm, piano-led melodies. If you’re looking for a pick-me-up, or even a bit of a cry, “Forgive Me” is the song for you. Chloé has hit the nail on the head here in so many ways and we can’t wait to see what she gets up to next.

“Forgive Me” arrives in stores on 13th September 2019 via AWAL.

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The TVD Record Store Club

Graded on a Curve: New in Stores for September 2019, Part Two

Part two of the TVD Record Store Club’s look at the new and reissued releases presently in stores for September, 2019. Part one is here.

NEW RELEASE PICK: Sequoyah Murray, Before You Begin (Thrill Jockey) Murray emerged earlier this year with the 4-song “Penalties of Love,” and this long-player fully delivers on the promise of the EP (only one cut, the title track of the prior release, is featured on Before You Begin). Initially, there was talk of Arthur Russell, and with the presence of cello in “Blue Jays” and “Let’s Take the Time,’ that’s still a relevant point of observation, though much more pertinent is Murray’s blend of soul/ R&B/ hip-hop/ trap and experimentation spurred from the Atlanta free-improv scene. Yes, this experimental side can swing us back to the topic of Russell, but the approach is thoroughly contempo (but occasionally utilizing vintage gear). I also dig how Murray plays around with a croon that recalls ’80s UK synth pop a bit. A

REISSUE/ARCHIVAL PICKS: Chief Stephen Osita Osadebe, Osondi Owendi (Hive Mind) By the time he’d released this utter beauty of Nigerian highlife in 1984, Osadebe had already chalked up a multi-decade career, having initially made his mark in ’59 with the hit “Lagos Life Na So So Enjoyment.” In fact, this record was something of a strategic stylistic adjustment for Osadebe, made in reaction to the upsurge of rock and funk on the Nigerian scene. The bandleader slowed it down, stretched it out (the LP features two side-long tracks), smartly borrowed contemporizing aspects from the rock and funk styles that had momentarily displaced him at the forefront of Nigerian music, and then dubbed this revamping oyolima. For anyone who digs the highlife style, Osondi Owendi is an absolute necessity. A

Rain Parade, Emergency Third Rail Power Trip (Real Gone) This 1983 debut, the only LP made by the band’s original lineup, is a cornerstone of Paisley Underground architecture, as crucial to understanding the breadth of that movement as the debuts from the Dream Syndicate, Green On Red, The Bangles, and the Three O’Clock (then called The Salvation Army). Featuring the brothers Stephen (bass) and David Roback (guitar, notably later of Mazzy Star), Matt Piucci (guitar), Eddie Kalwa (drums), and Will Glenn (multiple instruments), the band’s approach blended aspects of the L.A. scene (Byrds, Buffalo Springfield, Love) with pop-angled psych (rooted in Nuggets and early Floyd rather than San Fran) to superb effect. If you’re into neo-psych and aren’t hip to Rain Parade, here’s an easy fix. A

Lee Hazlewood, 400 Miles from L.A. 1955-1956 (Light in the Attic) Discoveries of early, embryonic recordings by departed artists regularly reek of barrel-scrapings gussied up for completists and the manically obsessive, but these early home demo recordings of a youthful Hazlewood made in Phoenix, Arizona as he was attempting to infiltrate the music industry are insightful and a non-stop pleasure across four sides of vinyl (there’s also a deluxe bundle where the wax is gold and is accompanied with a silkscreen print, a travel journal, a shot glass and drink coasters). Lee is considerably less eccentric here, with the voice still deep and low but not as distinctively so as he later became. That’s alright. But much better than alright is the opportunity to hear Trouble is a Lonesome Town in early form. A-

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A morning mix of news for the vinyl inclined

In rotation: 9/12/19

Glasgow, UK | National album exhibition curated by Lewis Capaldi launches at Glasgow Central: The touring show, celebrating the sounds of Scotland, is part of events leading up to National Album Day in October. A touring art exhibition which celebrates the sounds of Scotland can be viewed at Glasgow Central Station from today. The public show is in the city until next Thursday (September 19), when it will head to Manchester Piccadilly and then on to Birmingham New Street from Monday, September 30 and London King’s Cross St Pancras on Wednesday, October 9. Scotland, the north of England, the Midlands and the south of England will be in the spotlight as part of the extravaganza leading up to National Album Day on Saturday, October 12. Anyone in Glasgow Central today will see the version created for the Scottish audience, which aims to present a “cross-cultural” view of Scotland’s musical landscape, past and present. National Album Day artist champions who represent each area have also been charged with selecting the six albums that inspire them, and the lists will sit alongside picks from local music critics and record stores.

San Francisco, CA | Viking’s Choice: What I Learned From Aquarius Records, A Record Store For Big Ears: …From 1970 until its closure in 2016, San Francisco’s Aquarius Records (often shortened to aQ) not only became an authority on psychedelic, metal and experimental music, but also a home for wayward record collectors with the biggest, weirdest ears in the world. Even across the country, I found community by discussing the latest weirdo jams found on the New Arrivals list with friends. Each record, cassette, magazine or artist-burned CD-R was reviewed with equal parts nerdy insight and outrageously ebullient language. Where else would you read about the “scuzz-drenched doomic plod” of Rusted Shut? Or Twink’s apocalyptic psych-rock masterpiece Think Pink from 1970, a record “packed with droning chant, druidic prophecy, spaced-out psych jams, weird, twisted pop and acid-folk ramble”? …Aquarius Records taught me that you can always dig deeper for weirder, louder music, but unlike the grumpy record store clerks portrayed in movies, you don’t have to be a creep about it. This music is for anybody drawn to the seemingly indigestible, or at least curious about the racket leaking from your headphones.

Atlanta, GA | This Vintage Vinyl Store In Georgia Will Make You Feel Like A Hippie In The 70s: Vinyl records seem to be a thing of the past, but they have been making a come back. There is something very aesthetically pleasing about them and Millenials have been going crazy for them. Surprisingly, there are still a few hidden record shops in Atlanta that are fun to explore and make you feel like you are in another decade. Criminal Records is located in Atlanta and it is massive. It’s a throwback record store that will take you back in time to the 70s and 80s. There are vinyl records, DVDs, comic books and so much more. They even have local bands come play on specific nights. Many famous people, like Raury and the owner of Rapzilla, have stopped by this location, too. When you walk into the store, the smell of old records will hit you in the face. It is like when you open an old book for the first time in a while. The store is filled with rows and rows of vinyl from all decades of music. This location also has a buy/sell/trade system so everything in this store has a story of where it has been…

Prince’s iconic ‘1999’ album reissue to contain 35 previously unreleased tracks: Unreleased concert footage is also included: Prince‘s classic album ‘1999’ is being reissued and will contain 35 previously unreleased tracks. See more details and the full tracklist below. The iconic record – featuring ‘1999’, ‘Little Red Corvette’, and ‘Automatic’ – will arrive on remastered, expanded formats on November 29. It’s being released via Warner Records in partnership with the late artist’s estate. Fans will be able to get their hands on a Super Deluxe Edition (comprised of 10 LPs and a DVD), a Deluxe Edition (2CD or 4LP 180g vinyl/download and streaming), or the standard remastered version (1CD or 2LP 180g Purple Vinyl/download and streaming). The Super Deluxe Edition’s DVD is a full, previously unreleased concert film shot at Prince’s Houston Summit show in 1982. Also included in the top-tier package are 23 previously unissued studio tracks (recorded between November 1981 and January 1983), and a complete live audio performance of the ‘1999’ tour.

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TVD San Francisco

TVD Live Shots: Korn, Alice In Chains, Fever 333, and Underoath at Shoreline Amphitheatre, 9/4

The unlikely mashup of Korn and Alice In Chains wrapped up their North America co-headlining tour at the Shoreline Amphitheatre in Mountain View California.

The Wednesday night show kicked off early with a 6:30 set by Fever 333. Those who were able to maneuver the Bay Area rush hour traffic in time were rewarded with a spectacle that had front man Jason Butler (who you may recognize from Letlive) ignoring the empty seats up front and making his way into the audience to entertain the folks in the box seats thanks to the longest mic cord ever.

Next up were Floridians Underoath who tore through their set as the crowd still filtered in. Not a bad set, but four bands were clearly overkill for a Wednesday night, and the tour probably would have been better served by starting an hour later.

The sun had finally set and the seats were full by the time Alice in Chains finally took the stage and launched right into “Angry Chair.” The weeks on the road clearly have resulted in an incredible tightness (and no sign of road wear) as they blasted through a setlist of primarily early material from Dirt, Facelift, and Jar of Flies which was augmented with a smattering of the new stuff including a pair of tunes from last year’s Rainier Fog. No complaints at all about this set which showcased AIC at its best.

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The TVD Storefront

TVD Radar: Gene Clark, No Other vinyl boxset reissue in stores 11/8

VIA PRESS RELEASE | On the eve of what would have been American singer-songwriter and Byrds founding member Gene Clark’s 75th birthday comes the reissue of one of his finest works, No Other.

Released in 1974 on Asylum Records, a year after the Byrds short-lived reunion, Gene reached for the stars with No Other; a psychedelic rock, folk, country and soul record that famously cost a small fortune to make. Although received warmly by critics, it flopped and was soon deleted, a failure Gene never came to terms with. However, as The New York Times wrote around the record’s 40th anniversary in 2014, “hindsight has burnished No Other, as it has redeemed other albums that went on to be reconstructed as rock repertory, like Big Star’s Third/Sister Lovers and Lou Reed’s Berlin,” with the album now being increasingly recognized as one of the greatest of its time, if not all time.

45 years on and recently remastered at Abbey Road, 4AD are giving No Other the reappraisal it deserves. The original eight track album is being released on both CD and LP, while a limited run double CD edition in a hardbound book cover is also coming which includes a bonus disc of alternate studio versions of each track plus a recording of “Train Leaves Here This Morning” (an Eagles hit in 1972, written by Gene and Eagles founding member Bernie Leadon).

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