“I started paying attention to vinyl when a good friend running sound for us gifted me some of his own personal vinyl he bought the day they came out (Led Zeppelin II, III, Black Sabbath’s Paranoid, U.K.’s Danger Money).
I didn’t really start collecting myself until I had been on a series of tours in 2005 playing drums for a band called Vedera. Touring up the west coast, I stopped in at every Amoeba Records and book store to see what I could find.
And in the van, the stack grew. I filled a couple crates from what I bought on that tour.”
Digital Gold was mixed by Jeremy Wilson and mastered by Duane Trower at Weights and Measures Soundlab. The album is out today (3/11) on Celebrity Narrators Records and is available for purchase here.
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Personnel transitions are part of the history of brass bands in New Orleans. Though the band name may be new, all of the members of the Most Wanted Brass Band are familiar faces. They are playing every Tuesday at 2239 St. Claude Ave. in New Orleans. The show begins at 9:30 PM. Check their website for details on how to get in free.
Most of the musicians in the Most Wanted were longtime members of the Stooges who decided to pursue a different musical direction. They recorded an album, which is available free, here. “This is a Mardi Gras giveaway,” says bandleader Ersel Bogan III. “We want people to get acquainted with us as Most Wanted, though they know our names and faces already.”
The tracks are a composite of the band’s influences, musical passions, and the multitude of musical directions possible with their lineup. Songs include “That’s What You Get (For Being Polite)” by The Jacksons, traditional numbers like “Mardi Gras in New Orleans,” and Anthony Hamilton’s “Best of Me.”
“Ha! Well, my first date, I was defiantly underage!”
“When I was an infant, my cot was in my Dad’s study where he had a whole wall of hi-fi equipment, including record decks and old tape machines. The first thing I latched onto and associated music with was the Revox a77 reel to reel tape machine as it was clearly visible to my young eyes! This is where music came from for me in my younger years and then very soon after, those big round shiny records too. To my Dad’s dismay I can just about recall that the records tasted better than the reels as of course it all ended up in my mouth as a toddler.
My Dad’s system was composed of Quad esl57 speakers and 33/303 pre and power amps, so very early on I was developing some audiophile traits. I have now inherited his system and, for me, vinyl doesn’t sound any better than it does on this. So warm and so massive!
Numero Group’s Warfaring Strangers: Darkscorch Canticles corrals 16 bands that dove headfirst, and while the poker was hot as hellfire, into the choppy waters of occult-focused and occasionally satanic ‘70s hard rock action. Its spoils uncover a pocket of previously uncelebrated motion; if not transcendent it does provide a return of dependable quality.
While humorous, the title of this 2LP is also appropriate, and the Rob Soden-designed cover is certainly amongst the most fitting sleeves I’ve ever glimpsed. Immediately my mind flooded with visions of 10th grade, the memory only strengthened by discovering the jacket was based on band-logo designs that decorated Soden’s high school Peechee folder.
One of my classmates, and to describe him as a metal fan would be a severe understatement, adorned the backs of his spiral-bound composition notebooks in a similar fashion. And I’d noticed other hard rock/metal lovers scrawling logos (I recall the most popular being AC/DC and Metallica) onto the covers of their pads and tablets, so this wasn’t necessarily a new development.
But the precision, consistency and sheer intensity of this one kid sitting across from me in sophomore study hall has always lingered in my consciousness. More than just fandom, his labyrinthine calligraphy was a declaration of extreme devotion; instead of focusing upon algebra or biology, he was ruminating upon and championing the finer points of Zeppelin, Sabbath, Priest, and Maiden.
Twenty five years ago an album was released that defined a new chapter in the musical career of the already legendary performer. When Bob Mould released Workbook in 1989, it marked the first solo endeavor for the musician since he left his previous project as guitarist/vocalist for the Minnesota based band, Husker Du.
With its mostly acoustic sound, Workbook leaned heavily toward the more mellow side of Mould’s musical repertoire, and it also revealed a side of the musician that had not taken shape prior. The album was deeply embraced by Mould’s hardcore fan base and even generated some mainstream and critical acclaim when the album’s best known single, “See a Little Light” placed high on the Billboard charts.
Workbook is arguably one of Bob Mould’s best and most beloved projects and judging by the packed crowd at the 9:30 Club for last Wednesday’s performance, Mould is welcome in DC anytime, no matter what he plays.
When he took the stage it was obvious that Mould’s relationship was his audience is one of respect and admiration. The crowd was a little more polite than usual as all stood with eyes wide and eager ears. The throng clapped solidly and steadily and shouted out things like “Way to go, Bob.” In between songs, Mould told jokes and short narratives in a very intimate way, almost as if he were talking to close friends. As far as live shows go, you’ll not get a more intimate experience than you will Bob Mould.
“I didn’t have a record player in my room growing up—which now it’s common for kids to have both turntables, phones, iPods, etc…. lucky basterds.”
“I had a Popples cassette player that I’d stolen from my sister to play my latest mix tapes that I had conjured up from my parents’ record collection until I got my Walkman. But until then, to get the Led out in my bedroom, I played Physical Graffiti in real-time and bounced it down to tape. I was fascinated by these relics of my father’s glory days and spent hours listening to them and recording them, unbeknownst to him, or so I thought. I’m sure he knew but didn’t give me too much shit ’cause at least I was listening to something other than MC Hammer.
It wasn’t until college that I started collecting my own vinyl but I’ve never bought it like I did CDs in Jr. High and high school. I’m not sure you could even buy vinyl in East Central Indiana at that time unless you wanted to smell like nag champa or moth balls.
From finding a spot on this year’s SXSW line-up to releasing their third studio album, the British three-piece has an exciting few months ahead.
Originating in Southampton, UK, Band of Skulls began playing shows in 2008. The band, who formerly performed under the name Fleeing New York, is composed of Matt Hayward, Russell Marsden, and Emma Richardson. Having been on several tours and opening for big name rock acts Muse and Red Hot Chili Peppers, Band of Skulls has built an impressive resumé within the past few years. Adding to the list, the trio is set to play this year’s SXSW again this year, as well as release their new album titled Himalayan.
After playing the Texas music fest, Band of Skulls is heading out on an international tour to promote the new album. As a part of the US leg of tour, they are playing the 9:30 Club on Monday, April 28, and we’re giving away a pair of tickets.
“There’s something about holding vinyl in your hands that immediately evokes the feeling of nostalgia. The feeling of a different time slipping in between your fingers, a time where people gathered around a record player to listen to music. Although many of us hardly remember those times, they still existed.”
“A time when people danced in their living rooms in thick socks and underwear to a full album, from start to finish, (not just dancing naked in the street punching people out) without skipping to a new track on their pocket-sized iPods. Well that’s the touch—the thin medal, a perfect circle. You can fit your pointer finger in the hole in the center and spin the record round and round like a merry-go-round.
Then there’s that sound. That rich, velvet on your ears, as if you were in the room with Etta James when she belted out “Sunday Kind of Love in the recording studio. You hear the imperfections in vinyl, the kind of imperfections that fill your soul with delight. A pop on the lip. An extra breath in between words. The kind of beautiful imperfections that happened all in one take. There’s nothing like it and everything else pales in comparison.