Category Archives: TVD New York City

A jaunt around NYC’s Other Music with The Ludlow Thieves’ Dan Teicher

A short while back I went record-shopping with Dan Teicher, guitarist-producer-founder of pop-rock-plus-strings band The Ludlow Thieves. We decided to hit up Other Music, a high-end music store in Manhattan’s NoHo area.

The store takes vinyl seriously, selling brand-new records (amongst other items) of masterwork albums from yesteryear and yesterday, at exorbitant prices. Well, exorbitant for us vinyl enthusiasts whose sense of pricing halted its modernization when our musical taste did—i.e. 1994. Still, Other Music deserves kudos for matching lofty price tags with lofty musical principles, offering up a vinyl selection that Rob of High Fidelity could, theoretically, be proud of.

Teicher is quite into vinyl and quite into music history, which is evident in both his solo visual media scoring and the collective musical journey of his burgeoning band The Ludlow Thieves. He is the guitar guy and producer for the group—a band that has headlined the major venues in New York City.

The Thieves, an ensemble-first band that counts two vocalists and a violinist amongst its members, recently released their EP “Skyline” and will be celebrating yet another EP release entitled “Sing Me Back” this Friday with a performance at Webster Hall.

But there is more too—much more!—on the way. Teicher, like many of us, sees both the upsides and downsides of the digital age and its effects on musical consumption. Amidst our jaunt around Other Music, these up and downsides were discussed, as were the Thieves’ main influences, why modern-day listeners prefer intro-less songs, and what to do when your parents neglect to properly care for their own vinyl collections—the bastards.

Dan Teicher: I assume you must be a vinyl nut.

Well yes, but I don’t buy as many new records as I would like to—only because, look at these prices. Thirty dollars for one album? Like, what?!

It’s so cool to have vinyl. But—it’s hard to justify getting a new album unless you’re trying to seriously support a new band. My record player’s a shitty little record player too. It’s like a classic old-school player, and I’m trying to figure out a way to involve it in my studio set-up to get a better sound quality out of it. I’d almost rather listen to a CD if I’m going to support a band because for me and my audio set-up, a CD would have better sound quality. However, I’m all about raiding the racks for one-dollar used records. But it doesn’t look like they have too many of those here…

Yeah, this is pretty high-end. Which in theory is super cool—taking vinyl seriously. How did your band, The Ludlow Thieves, get started?

Well, I started performing under the name Ludlow Thieves by myself. I recorded something which will never see the light of day that I sang on. About two weeks after I recorded it, I listened to it with fresh ears and was like “Oh, I should not be singing at all.”

I tend to like guitarists’ voices though, even when they’re not typical singers, like when Keith Richards sings.

You like when Keith sings? Well, you know what—when we get to that Rolling Stones point, when we all go do our solo albums, maybe I’ll reconsider.

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Mellow Obsessions: The Record Store of the Mind by Josh Rosenthal

So nice, we read it twice. —Ed.

Genre-wise, Josh Rosenthal’s new book is a medley of memoir, music criticism, and a how-to guide on music listening.

Entitled The Record Store of the Mind, it loosely tells the story of Rosenthal’s musical life from his origins as a PolyGram intern right up until his recent-ish (2005) founding of Tompkins Square Records. Along that route, he had stints at larger operations—Columbia and Sony.

Rosenthal’s releases through Tompkins Square over the past ten years have largely consisted of reissued and long-forgotten musical material (i.e. Roland White’s 1976 album I Wasn’t Born to Rock’n Roll) and never-before-released-but-should-have-been-long-ago material (i.e. Tim Buckley’s Live at the Folklore Center, NYC – March 6, 1967). This chosen focus stays true to Rosenthal’s record collector character—forever seeking out a classic bit of vinyl that people have forgotten about and need to hear again right away.

This kind of mindset places worth upon history, it places worth upon the effects of passed time on a work of art. It places worth upon the voice of a narrow perspective that spoke directly from a given year, a year during which a myriad of events occurred, a year that was defined by statistics which determined its color and taste, statistics that could never be reproduced in that same way ever again.

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TVD Live Shots: Lalah Hathaway at B.B. King Blues Club & Grill, 9/23

TVD’s Doug Seymour was dispatched to Lalah Hathaway’s performance at B.B. King Blues Club & Grill in New York City on September 23rd to photograph the show and behind the scenes.

The two time Grammy Award winner is preparing to release Lalah Hathaway Live on October 30th—available on vinyl, CD, and DVD from Hathaway Entertainment with distribution by eOne Music. This album was recorded at the Troubadour in Los Angeles this past April. It’s the same stage upon which her father, Donny Hathaway, recorded his Live album in 1972.

Several surprise guests joined LaLah Hathaway in NYC—jazz legend Chick Corea, Valerie Simpson (Ashford & Simpson), Freddie Jackson, Jonathan McReynolds, and songwriter James Day.

Check out Hathaway’s new video “Little Ghetto Boy” from her forthcoming Lalah Hathaway Live.

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TVD Live: AC/DC at MetLife Stadium, 8/26

PHOTOS: DAVE BARNHOUSER | In the world of rock music today, there are a scant few bands still touring who can be categorized as “living legends.” The Stones. The Boss. McCartney. Yet even with the legendary history behind those great artists, none today have the sheer power—dare I say the “high voltage rock and roll”—of the mighty AC/DC. After four decades of the purest, no-frills heavy rock on the planet, the band is still at it and as heavy as ever.

On this stop at MetLife Stadium in East Rutherford, New Jersey, the faces had changed a bit, but the rock stayed the same. Former drummer (Razor’s Edge-era) Chris Slade has rejoined the fold, stepping behind the kit for longtime drummer Phil Rudd, who is under house arrest due to some, well, legal issues.

The other change in the lineup, and the most disappointing one, would be the absence of founding member and band leader Malcolm Young. Retired due to debilitating health issues, the band kept it in the family, recruiting nephew Stevie Young to fill the void at stage right on rhythm guitar.

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TVD Live Shots: The Detroit Cobras at the Brooklyn Bowl, 7/18

TVD photographer Doug Seymour traveled to the Brooklyn Bowl on July 18th to chronicle an evening with The Detroit Cobras. The Cobras blend obscure rock and soul classics with a gritty charm that make the songs all their own.

Lead singer Rachel Nagy owned the stage with a rock and roll swagger that was electric. Check out the balance of Seymour’s photos below—and the Cobras live.

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Pete Donnelly,
The TVD Interview

Pete Donnelly’s musical resume is pretty damn impressive. He’s the bass player firmly associated with legendary rock band NRBQ. He’s the singer-songwriter with several solo releases to his name. He’s the co-writer of “I Can’t Imagine,” the title track of Shelby Lynne’s recently released album. And of course, he’s the founding member of phenomenal rock band The Figgs, having worked with The Replacements’ Tommy Stinson, as well as the great Graham Parker.

Along with Mike Gent, Donnelly founded The Figgs in 1987 and they are still going strong, with a recent album release that just might be their best yet. Other Planes of Here is an eight-track wonder of a record, a record that sets forth free-sounding tunes at once loyal to aurally stimulating melodies and compositionally new. While staying true to their rock-heavy roots, The Figgs have allowed their musicality to grow and their sound to evolve into one that incorporates and is influenced by a variety of instruments and genres. The result, manifested this year in Other Planes, is thoroughly, thoroughly good.

In conversation with Pete Donnelly, we learn more about The Figgs’ story and the making of Other Planes, as well as Donnelly’s numerous artistic influences and his warranted and well-articulated thoughts on the current state of the music industry.

First of all, congratulations on the new Figgs album Other Planes of Here, it’s really great. How did you devise its overall aural aesthetic? Because it seems to be a newer sound for you guys, incorporating more experimental musical components, more computerized effects.

Yeah, the Figgs certainly have an organic process. I think that we usually edit down quite a bit and focus on being sort of a pop band versus an experimental band. We tend to be tight and to the point, but we do have another side of us which is very experimental. I think in this case we decided to let it go and to not edit the process. We sort of wanted to take the audience into the process of recording, and I think the experimental side sort of opened a doorway into what gets our songs together. Often times we would edit that out of the final picture, but here we decided to leave it in.

How would you describe the band’s typical compositional process? Do you guys usually write together?

We do all kinds of things. I’d say that traditionally, Mike (Gent) and I write songs and come together in the studio or a rehearsal space, blast through a number of them and just see what clicks. As we’ve gotten older over the years, we’ve tried certain things where we’d write in the studio, come up with a theme or musical idea, just sort of experiment with it and write a song to it. It’s generally a more modern technique, making tracks and then writing to them. Sometimes we’ll have an unfinished song that one of us will come and finish. So it’s kind of anything goes. But because Mike and I write so much and come to the table with many songs, I think it’s the collaboration that makes it. Songwriting on paper is writing down a title, music, and lyrics, but the band contributes so much to, as you said, the aural picture. And I think on the new record, you can expect a lot more of that.

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Five from Five: 6/11/15


Five from Five is our recurring feature wherein TVD’s Mike Newman—he of Beyond Beyond is Beyond Records—shares with you all of the New York-centric things that he’s digging these days, from upcoming shows, to killer albums, to much more.

1. TONIGHT! Get thee to Rough Trade NYC for the magnificent Jacco Gardner! This Dutch pop-psych maestro and his band are amazing live…and will certainly will be playing great tunes from the brand-new Hypnophobia album.

2. FRIDAY NIGHT! Michael Rault, Heaters, and The Britanys at some place on Avenue A called Berlin. You haven’t heard of it either? No yeah, there’s an air of mystery surrounding this venue and this show, being put on by Holy Underground. Anyway, it’s 5 bones and will probably rule in many ways. Get there!

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TVD Vinyl Giveaway: Follakzoid, III

I was just telling you about the Follakzoid show I went to a couple of weeks ago in this 5 from 5 post, and now I’ve got a copy of their latest album, III, to give away to one of you lucky TVDers…thanks to Sacred Bones Records!

“Föllakzoid began seven years ago as a trance experience between childhood friends. Their style comes deeply rooted in something much more substantial, meaningful and culturally significant, with grooves that are heavily informed by the heritage of the ancient music of South America’s Andes Mountains.

After breaking into our realm with II the group toured more than ever, playing across the world and taking in festivals such as Primavera, ATP, Lollapalooza, and SXSW. This time spent playing and experimenting solidified a deep-set musical bond that would ultimately act as the foundations for III.

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Five from Five: 5/28/15

Yo, hello. I’m starting this new Five From Five feature so I can share with you all of the New York-centric things that I’m digging these days, from upcoming shows to killer albums and much much more.

OK, not really “much much more,” because how much more do you need in life between live shows and pre-recorded jams? Not much, I would argue. And the great thing about it is we can tune out all that other bullshit people are talking about and listening to…and just concentrate on MY TASTE! (Disclaimer: other people listen to and talk about wonderful things.)

Anyway, I’ll knock it off and share with you the first Five from Five.

1. Dig this killer mind-fuck jammer, “Dutch Master,” from Brooklyn’s own Friend Roulette. Their new album I See You. Your Eyes Are Red comes out on June 2. Grab of it!

2. Annique Monet is brilliant. She’s from Florida, lives in Brooklyn, and made every sound on this album. Phantom Letters just came out last week on cassette/digi on Beyond Beyond is Beyond Records. Sit back and enjoy the “Relapse” song/vid and stream the rest of the album here.

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TVD Live: Austin Psych Fest’s LEVITATION 2015, 5/8–5/10

PHOTOS: MATTHEW TAPLINGER | I’m a dad now. I don’t have time to go to all kinds of music festivals every year. And actually I never was that big a festival-goer anyway, even before my daughter came along two years ago. But I’ve been to “the Bonnaroo” back when it wasn’t quite so corporate, and I went to All Tomorrow’s Parties the two years that they were held in upstate New York at the magical Kutshers Country Club in Monticello. Man, those two fests are about as good as it gets.

Well, I don’t fuck around much with many other festivals now…besides Austin Psych Fest. Or “LEVITATION,” to which it was simplified this year. I’ve “Levitated” there for the past four years in a row. What I think attracts me so much to this fest is how it strikes quite a perfect vibe balance between circa 2007 Bonnaroo and 2009-2010 All Tomorrow’s Parties at Kutshers.


My first Austin Psych Fest was in 2012, the last year that it was held indoors, this time at Emo’s East and the adjoining Beauty Ballroom. It was certainly memorable enough that I’ve returned every year since, and ever since Austin Psych Fest or LEVITATION has been held at the Carson Creek Ranch, a sprawling, idyllic landscape on the Colorado River.

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