Category Archives: The TVD Storefront

TVD Radar: Humble Pie On 79th Street vinyl LP available only at UK’s Pie & Vinyl for RSDay

VIA PRESS RELEASE | Immediate Records presents Humble Pie On 79th Street, limited edition vinyl LP—a secret release for Record Store Day UK, April 21.

With Record Store Day fast approaching, you won’t find this special compilation LP by one of the UK’s most iconic bands in any store on April 21st. Except one. Humble Pie On 79th Street will only be available from Pie & Vinyl. Obvious? Or are we bucking the trend of Record Store Day in the manner that Andrew Loog Oldham, legendary founder of Immediate Records and Rolling Stones manager might have done? Or does this one-off LP celebrate the spirit of RSD more than any other release?

Inspired by the beautiful pied-piperess Katherine who led us all to Pie & Vinyl and discoveries that linked her vibrant, musical town of Portsmouth & Southsea, an amazing record store and the timeless sounds of Humble Pie to dramatic events in Southsea over 40 years ago that culminated in a truly local effort to press the LP in Portsmouth and have it on sale in Southsea for Saturday April 21.

Says Immediate Records reissue producer Rob Caiger: “Wouldn’t it be great if by doing all of this, a new fan on Record Store Day discovers Humble Pie – in Pie & Vinyl – and feels the same excitement hearing ‘Natural Born Bugie’ as I did in my own local record shop Downtown Records many years ago. There’s no better place to hear new sounds (however old…) then in a record shop—and that’s just one reason why we should celebrate Record Store Day.”

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TVD Radar: Nocturnal Projections, Complete Studio Recordings and Inmates In Images in stores 4/27

VIA PRESS RELEASE | Formed in Stratford, near New Plymouth, New Zealand in 1981, Nocturnal Projections was the explosive project of legendary and prolific brothers Graeme and Peter Jefferies (who would later form This Kind of Punishment before launching their solo careers), who along with friends Brett Jones and Gordon Rutherford, created some of the most energetic and influential avant-garde punk rock to emerge from the country.

Largely ignored during their tenure (but revered and referenced in the years after their breakup) and often compared to UK contemporaries like Joy Division, Comsat Angels, The Fall, or Wire, Nocturnal Projections stood well apart – never enjoying the luxuries of unlimited studio time, music videos or international fame, Nocturnal Projections possessed a driven, rough-hewn serrated edge that cut through the lot comparisons to the UK post-punk exports of the era. They were ahead of their time, completely singular, and for those that had the benefit of seeing Nocturnal Projections play live – formative, with a dedicated cult following to this day.

As residents of New Plymouth’s Lion Tavern during their first year as a band, they perfected their soaring, impactful live set locally (often as the only band, without an opener and 3 hours to fill!) before heading off to Auckland in January of 1982, performing with bands like The Fall, John Cooper Clarke, and New Order at venues like The Mainstreet Cabaret, The Rumba Bar, and Reverb Room. *The band recorded three EPs at Stebbing Studios in Auckland: The self-titled and self-released 7” single released April 1st of 1982, with the “Another Year” 12” EP following later that year. Their self-titled three song 12” was recorded in 1983, and released by the band posthumously that June, after the band called it quits. The Jefferies would move on and regroup with Rutherford and sound engineer Andrew Frengley shortly after the NPs fell apart to work under the This Kind of Punishment banner.

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Young Rising Sons,
The TVD First Date

“My earliest memory of my first introduction to music was my father blasting The Beatles’ Rubber Soul in our living room. My brother and I would dance around and sing along to “Drive My Car.” My father’s love for The Beatles, The Doors, The Dave Clark Five, and Herman’s Hermits would be passed on to my brother and me in the form of punk rock, hardcore, and hip-hop.”

“Growing up, my father used to frequent a record store called Wow! Music in the Hudson Mall, in Jersey City, NJ. He would always randomly browse and pick up any record that MIGHT seem like he would enjoy. I wouldn’t understand until later in life the satisfaction he would get watching his collection grow every week. It’s something that to this day, my brother and I would bond over with him.

Having an older brother who started DJing in the pre-Serato era made a huge impression on me when it came to hunting, purchasing, and collecting music. Browsing the used vinyl section and the $1–$5 crates of old records at Vintage Vinyl in Fords, NJ, and Jack’s Music Shoppe in Red Bank, NJ not only became a hobby, but an obsession.

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Kimbra: In-store
with TVD at DC’s
Som Records

PHOTOS: RICHIE DOWNS | We trust that you’ve heard by now that this Saturday, April 21, 2018 is Record Store Day, which is for us less of a “Christmas” and more akin to Thanksgiving—a day to be thankful for the mom and pop, indie record shops that yes, see a spike in sales and foot traffic on this particular Saturday.

Now, if you’ve been paying attention, you’re aware that each year the Record Store Day folks choose an ambassador for the event—kindred souls who live and breathe the culture of both records and record stores. This year RSD has chosen rap duo Run the Jewels as its 2018 ambassadors, following Metallica, Jack White, Dave Grohl, Chuck D, Iggy Pop, and St. Vincent among others have also lent their support. In addition many countries across the globe choose their own special ambassadors.

Which got us thinking…heck, we’re here every day preaching the brick and mortar gospel and singing the praises of the bands and artists who press their music to wax—we might just merit a Record Store Day ambassador ourselves!

And as such, we’re delighted to announce that mega-talented, global recording artist Kimbra is our very own ambassador for Saturday’s shop-a-thon. Kimbra’s brand new release Primal Heart arrives in stores tomorrow, April 20, 2018—which means you can snap it right up on vinyl come Saturday! She’s also on tour with Beck into June.

Touring earlier this year in advance of Primal Heart’s release, she joined us for a record rummage at Washington, DC’s Som Records, and as you’ll see, she’s as knowledgeable as she is engaging and warm. And she’s got great taste in music too.

So, onward—we’re record shopping with Kimbra at Washington, DC’s Som records!

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TVD Radar: Cheap Trick, The Epic Archive Vol. 2 (1980-1983) in stores 6/1

VIA PRESS RELEASE | Cheap Trick fans positively inhaled our first batch of rarities, so we’re back with 16 more
 lost tracks from Rockford, Illinois’ finest! Except this time, Ken Sharp’s notes feature track-by-track commentary from Bun E.
Carlos, Tom Petersson, and Rick Nielsen…this collection is a deep dive into the Cheap Trick hive mind!

So let’s jump in… first up are three tracks taken from the 1980 EP “Found All the Parts,” including a live version of The Beatles’ “Day Tripper” with an instrumental nod to The Yardbirds’ “Shapes of Things.” Then comes the single “Oh Boy,” followed by the demo of “Loser,” which was recorded in 1980 but was written by Nielsen way back in 1976, all CD debuts.

Two live tracks, “The House Is Rockin’ (with Domestic Problems)” and “Way of the World,” from a New Year’s Eve 1979 show at the L.A. Forum raise the temperature, then comes the George Martin-produced single versions of “World’s Greatest Lover” and “Everything Works If You Let It.”

Two tracks, “Reach Out” and “I Must Be Dreamin’,” from the Heavy Metal soundtrack and the title song from the Spring Break soundtrack cover the Cheap Trick silver screen legacy, while the demo version of the classic “If You Want My Love” premieres on CD. The “Super New Dance Re-Mix” of “Saturday at Midnight” and “Short Version” of “Dancing the Night Away” also appear on CD for the first time, as does the last track, the b-side “Get Ready.”

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TVD Radar: The Quick, Mondo Deco reissue in stores 6/1

VIA PRESS RELEASE | Power Pop fans, the long wait is over! The Los Angeles mid-seventies post glam, pre-punk, power-pop band The Quick are set to re-issue their 1976 Mercury Records debut Mondo Deco as an expanded edition on June 1 from Real Gone Music. This will be the first time the album has ever been released on CD.

Mondo Deco’s original 10 tracks were produced by Kim Fowley and Earle Mankey (original Sparks guitarist and also engineer) at the Beach Boys’ Brother Studios. The Expanded Edition is now a jam-packed 21 tracks and features those tracks newly remastered by Bill Inglot plus an additional 10 demos (which got them signed to Mercury Records) and an unreleased bonus track. The package also includes a track-by-track commentary by band member Danny Benair, extensive liner notes by The Quick fan-club President (and Frontier Records head honcho Lisa Fancher), a new essay on the bands legacy and never-before-seen archival photos.

“We are really thrilled to be releasing The Quick’s debut album as an expanded edition,” said Gordon Anderson, Co-President of Real Gone Music. “It’s just hard to believe it took this long to be reissued before this as it’s such a key album in L.A. rock history. There is a unique mixture of glam, power pop, and punk…add to that the illustrious achievements of the various band members and Mondo Deco really is the missing link in the evolution of Southern California rock and roll.”

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Graded on a Curve:
The Masked Marauders,
The Masked Marauders

The history of rock’n’roll is littered with great scams and practical jokes that took on a life of their own; I give you Klaatu (they’re really The Beatles!) and the great 1969 tour of America by The Zombies (two separate bands toured the States at the same time, and neither was the real Zombies, who had broken up). And of course there are Self Portrait and Metal Machine Music, both of which stand as great practical jokes regardless of their makers’ true intentions.

But the grandaddy of all rock’n’roll swindles is the 1969 “bootleg” The Masked Marauders, which supposedly documents a top-secret supersession involving John Lennon, Bob Dylan, Mick Jagger, Paul McCartney and other notables held at a top-secret location near Hudson Bay, Canada, which was supposedly produced by (it only figures) Mr. Supersessions himself, Al Kooper.

The whole affair started innocently enough with a practical joke of a record review concocted by Rolling Stone scribe Greil Marcus, but soon took on the dimensions of a conspiracy straight out of the mind of Thomas Pynchon. Writing under the pseudonym of T.M. Christian (swiped from Terry Southern’s The Magic Christian), Marcus penned a review of the nonexistent bootleg in which he extolled its myriad virtues, which included Dylan “displaying his new deep bass voice” on a cover of “Duke of Earl” and an eighteen-minute version of “Season of the Witch” on which Bobby “does a superb imitation of early Donovan.” The same song, gushed Marcus, “is highlighted by an amazing jam between bass and piano, both played by Paul McCartney.”

The sham might have ended there, but fate had other plans. An excited public wanted to know where it could find The Masked Marauders, and an emboldened Marcus (along with Rolling Stone editor Langdon Winner) went the next mile by sending San Francisco’s Cleanliness and Godliness Skiffle Band into the studio to record a few singles from the imaginary album including the aforementioned “Duke of Earl,” the Stones parody “I Can’t Get No Nookie,” and the Nashville Skyline parody “Cow Pie.”

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TVD Radar: Thee Hypnotics vinyl box
set in stores 6/8

VIA PRESS RELEASE | Nineties hell-raising rock’n’rollers Thee Hypnotics announce the release of Righteously Recharged, a colored, heavyweight vinyl anthology, including rare and unreleased material, due out June 8th via Beggars Arkive. They’ve also reformed for live UK dates happening now, including a sold-out London show on April 13th.

Righteously Recharged will feature four LPs including Thee Hypnotics’ acclaimed debut album Come Down Heavy (on violet colored vinyl), the swamp-rock follow-up Soul, Glitter & Sin (on red coloured vinyl) and their Chris Robinson, Black Crowes produced third album The Very Special Speed Machine (which never saw a UK release and will be on clear vinyl), along with a fourth disc, called In A Trance on white vinyl, with their very first single “Love In A Different Vein” plus early demos and Peel Sessions.

The set also contains in-depth liner notes by journalist Julian Marszalek, featuring interviews with the band and a savvy look at the band’s rip-roaring career, featuring outrageous tales of rock’n’roll excess and exhilaration.

Taking their cues from the Detroit militancy of The MC5, the corrupting output of The Stooges and the gospel according to The Cramps, Thee Hypnotics’ devastating brand of rock’n’roll was propelled by near punishing decibel levels and a fervor bordering on the evangelical.

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TVD Radar: Johnny Mathis’ I Love My Lady with Nile Rodgers and Bernard Edwards for Record Store Day

Among the riches of Record Store Day 2018 is the first time release of the album Johnny Mathis recorded in 1982, written and produced by Nile Rodgers and Bernard Edwards of Chic. Though some of its tracks first came out last year on the boxed set The Voices of Romance: The Columbia Original Album Collection, this will be the first time the almost experimental I Love My Lady will be released as a standalone album, pressed on clear smoke vinyl. “That was just stuff that was happening at the moment and I’m glad I did it,” Mathis, 82, said in an interview with TVD. “It was a learning process, though. It was like: tell me what to do and I’ll try to do it.”.

It was a little weird for him, the smooth singing balladeer whose first hits came more than 60 years ago, teaming up with the duo who were behind big hits from Diana Ross and Sister Sledge, as well as their own indelible funk sound that provided the basis for hip-hop hits (and for Daft Punk’s last album). “It was a completely different process, as far as my making the recording,” says Mathis. “I got in there and they were writing the songs as I was singing. And along the way, they would say, ‘Oh, that sounds nice, let’s go with that a little more,’ and they’d write a melody or something. But it was mostly rhythmical, kind of words, not so much melody. But it was fun.”

Mathis says remaining open to new avenues is something he did throughout his career. “I started studying at a very early age with a voice teacher, but I also went to church and I heard church music. I also had classes in school listening to classical music, so I was just jumping in anywhere I was thrown,” he says. “With Bernard and Nile, it was fun. They were really, really enthusiastic. Of course, they were in a different genre of music than I was. But they were to me the first people who opened my eyes to the fact that just because you sing one kind of music doesn’t mean that people who do other kinds of music aren’t listening to you. So when I got an opportunity to work with them, I was thrilled.”

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Graded on a Curve:
Ganser,
Odd Talk

Amongst the steady flow of contemporary post-punk, Chicago’s Ganser register a few cuts above the average. As evidenced on their new full-length, they offer coherent yet multidimensional muscularity that’s rooted in but not beholden to the tradition informing their work. The playing is dynamic, the shared vocals are complimentary and engaging, and the whole thing seems likely to go down a storm from the bandstand. Odd Talk is out April 20 on milky clear or black vinyl, cassette, and digital through No Trend Records.

Ganser is Alicia Gaines on bass and vocals, Nadia Garofalo on keyboards and vocals, Charlie Landsman on guitar, and Brian Cundiff on drums. Unlike numerous outfits who jampack their bios with loads of portraiture (and hey, there’s nothing wrong with that), Ganser seems to prefer letting their music do the talking, a tendency that jives interestingly with the disc’s stated theme of “communication breakdown.”

The band aren’t mysterious, however; along with clarity over who plays which instrument, it’s not exactly a secret that Ganser came together in 2014 and the following year announced their presence with a sturdy digital single. In 2016 the 3-song “Audrey” cassette EP maintained the quality as it underscored post-punk toughness that’s rightly considered goth-edged but without leaving the lingering impression of being covered in cobwebs or half-whacked on belladonna.

A second digital single emerged shortly thereafter, its A-side “Pyrrhic Victory” continuing down the dark post-punk avenue as the flip “Sunk” dove into noisier territory that, largely through beaucoup guitar racket, affirmed the positive influence of No Wave and Sonic Youth; thus far, it stands as the gem of their discography.

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