Category Archives: The TVD Storefront

Happy Thanksgiving!

We’ve closed the office for the Thanksgiving holiday. While we’re away, why not fire up our free Record Store Locator app and visit one of your local indie record stores during Black Friday or Small Business Saturday, either online, curbside, or with some sound social distancing?

Perhaps there’s an interview, review, or feature you might have missed? Catch up and we’ll see you back here on Monday, 11/30.

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TVD Radar: The Podcast with Evan Toth,
Episode 14: Thanksgiving Wish (Bone)

Thanksgiving is a little different this year, there’s no denying it. However, even though these are complicated times, it doesn’t mean there aren’t a lot of things to still be very grateful and thankful for. That’s what we celebrate on this week’s episode of Radar and we do it with some help from some of our favorite musicians who share with us an overarching theme of thanks.

You’ll hear Gregory Porter, Sly and the Family Stone, Led Zeppelin, Leonard Cohen and much more; old favorites and new. I don’t know about you, but the holiday season for me is always synonymous with those four Liverpool lads, The Beatles, so they of course stop by as well. We also have a “Thank You” contest between ZZ Top and Sam & Dave, make sure to tune in and see how that one turns out.

All in all, it’s an opportunity to bask in a glow of gratefulness with some of our favorite musicians and performers; we can use their comfort and support now more than ever. So, a Thanksgiving toast to all of our loyal Radar listeners and readers: may you enjoy this special season with your closest of loved ones and may you also recognize that—even during these very weird times—we all still have much to be thankful for.

Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector and hi-fi aficionado. Toth hosts and produces The Sharp Notes each Saturday evening at 6pm and TVD Radar on Sundays at 5AM on WFDU, 89.1 FM. Follow him at the usual social media places and visit his website.

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TVD Radar: Joe Bonamassa documentary Guitar Man streaming on-demand, 12/8

VIA PRESS RELEASE | Discover the extraordinary story of legendary bluesman Joe Bonamassa in the inspirational documentary Guitar Man, arriving on Video-On-Demand and for Digital purchase December 8, 2020 from Paramount Home Entertainment.

From average Joe by day to guitar hero at night, Guitar Man tells the incredible rise of blues-rocker Joe Bonamassa, whose hard work and determination have made him one of today’s top-selling blues artists. With more #1 Blues albums than anyone else in history, Bonamassa pulls back the curtain on his incredible career, allowing us to see his remarkable musical achievements and pioneering style. Featuring behind the scenes interviews and live concert footage showcasing some of the biggest names in music, kick back and enjoy the exhilarating soundtrack of his phenomenal life.

Guitar Man showcases Bonamassa’s astounding talent from his childhood as a “wunderkind” discovered and mentored by Blues legend B.B. King. At the age of only 43, Bonamassa has an illustrious career spanning over three decades. Through highs and lows, Joe persevered, taking his musical journey into his own hands to overcome challenges and reach his goals. In 2009, Bonamassa fulfilled a lifelong dream of playing at the prestigious Royal Albert Hall and was joined on stage by Eric Clapton, marking a pivotal moment that elevated his music to the next level.

Filled with an abundance of music, live concert footage, and interviews with music industry legends, Guitar Man chronicles a musician growing in his craft, traveling the globe, collaborating with top artists from across the world of music, and ascending to the heights of inevitable success.

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TVD Radar: Mary Timony, Mountains expanded 20th anniversary 2LP in stores 1/15

VIA PRESS RELEASE | To date Matador’s Revisionist History series has set its focus on the hallowed year of 1995 – surfacing critical releases by Pavement, Yo La Tengo, Guided by Voices, and Chavez. Today, however, we whirl the dial on the in-house wayback machine and travel toward the future: the year 2000 and Mary Timony’s debut solo album, Mountains, which will be reissued on January 15.

Remastered by Bob Weston, Mountains comes back to us as a gold foil-embossed gatefold 2xLP and will include the previously unreleased original takes of “Return to Pirates,” “Poison Moon,” and “Killed by the Telephone,” which were delivered along with the original master tapes 20 years ago, but were omitted from the final album. The record is completed by a newly recorded orchestral version of “Valley of One Thousand Perfumes” produced by composer Joe Wong (Russian Doll, Midnight Gospel) and mixed by Dave Fridmann.

At the turn of the century, Timony (Ex Hex, Wild Flag, Hammered Hulls) was already a celebrated presence in American underground music ­­– a fixture of D.C. and Boston rock ’n’ roll via her work in Autoclave and Helium respectively. By 1998, though, Helium was drawing to a close and Timony was feeling uncertain about the future. “I had never been good at the rock’ n’ roll business, and making a living from being in a band just didn’t seem like it was in the realm of possibility for me,” she writes. “I just knew I wanted to make another record because that was the part of being in a band that I liked the most.”

At the time of its original release, Timony called Mountains, “A Trip to the New Underworld.” “A bunch of hard stuff was happening in my life: family illnesses, people dying, people leaving, relationships ending. I fell into a deep depression,” she explains. “I tried new ways of making music: I tried writing songs without any filter at all, and I purposely didn’t think about what the music would sound like to anyone else. I was only interested in describing what was in my head.”

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Katie Kuffel,
The TVD First Date

“My first date with vinyl followed the arc of a classic ’90s romcom. A series of almosts and missed connections before finally we each turned the corner, caught the other’s eye, and fell in love.”

“Like most folks who have a dad with a garage, I unearthed his high school and college collection of records while exhuming my family’s Christmas decorations. I was a braces-laden eleven year old, and though I theoretically knew what the records were as objects, the band names within bands ‘The Temptations’ and ‘Marvin Gaye’ were entirely alien to me. My family didn’t own a record player, so they stayed in the box, forgotten.

It was many years before vinyl and I crossed paths again. I was in my early twenties and just played a gig with Drew Martin, a local in the Seattle music scene who lived most of the year in Hawaii, but would manage to sell out venues like The Sunset simply by sending out one group text message. He’s a mythic underground figure, to say the least. I don’t drive, so he was carting me to and from the venue.

We were loading my gear into his car and he had some left over merch in his trunk. A home-printed T-shirt, and a deluxe vinyl of his record The Valley, an invaluable object only available in physical form since he hadn’t bothered with streaming sites or digitizing his music at all yet. He offered them, and I happily accepted both proffered gifts. I’d conveniently forgotten that I didn’t own a record player.

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Graded on a Curve:
The Nice,
Five Bridges

I keep having the same nightmare. In it, Keith Emerson is hitting me over the head with dead classical composers. First he hits me over the head with Johannes Sebastian Bach, then he hits me over the head with Modest Mussorgsky, then he hits me over the head with Pyotr Ilyich Tchaikovsky, then he hits me over the head with Béla Bartók, then Jerry Lee Lewis bursts into the room and hits Keith Emerson over the head with a piano. Thank God for Jerry Lee Lewis.

Keith Emerson didn’t start bashing me over the head with dead composers when he joined the Evil Triumvirate Emerson, Lake & Palmer. No, it started back in 1968, when the classical blowhard formed the Nice with singer/bass player Lee Jackson and drummer Brian Davison. The trio quickly set about mixing classical music with rock, creating a tidal wave of bands set upon putting a conductor’s baton in the hand of a popular music form guilty only of minding its own business.

Emerson showed early promise as a live performer, taking a whip to his piano, riding it across the stage like the Lone Ranger, and stabbing it to death with knives. Unfortunately he grew up, quit the shenanigans and went full SymphProg, sealing the fates of those of us who believe that once you’ve buried a classical composer you should have the common decency not to dig him back up again.

On 1970’s live Five Bridges The Nice, aided and abetted by a horn section and the Sinfonia of London, play a classical hash that incorporates the music of Bach, Tchaikovsky, and Jean Sibelius, with a dash of jazz schmaltz tossed in for flavoring. The entire album’s a horror show, but The Nice reach a world historic nadir with “Country Pie”/“Brandenburg Concerto,” which they presumably created by cramming Bob Dylan and J.S. Bach into a prototype of Seth Brundle’s telepod.

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TVD Radar: Richard
Hell and the Voidoids, Destiny Street Remixed and Destiny Street Complete in stores 1/22

VIA PRESS RELEASE | Destiny Street was the follow-up album to one of the greatest punk albums of all time, 1977’s Blank Generation. The album was originally recorded in 1981 and released in 1982, but not to Richard Hell’s satisfaction. As he says in his new liner notes to Destiny Street Remixed, “The final mix was a morass of trebly multi-guitar blare.”

Now, for the 40th anniversary of its creation, the album is at last presented improved the way Richard Hell has long hoped and intended: “The sound of a little combo playing real gone rock and roll.” The resultant Destiny Street Complete, due out via 2-CD set and Digital, is set for January 22, 2021 release on Omnivore Recordings. Omnivore will also release a vinyl version of the new Destiny Street Remixed set for the same date.

Richard Hell co-founded his first band, the Neon Boys, with Tom Verlaine in 1973. That band became Television. When Hell left Television in 1975, he formed, with Johnny Thunders and Jerry Nolan, both formerly of the New York Dolls, the Heartbreakers. After another year, Richard departed the Heartbreakers and created Richard Hell & the Voidoids, which, along with other CBGB bands of the era, such as the Ramones and Patti Smith, formed the template for punk, the effects of which are still being felt.

Apart from Hell on vocals and bass, the original Voidoids comprised Robert Quine (guitar), Ivan Julian (guitar), and Marc Bell (drums). The Destiny Street-era band retained Quine, but otherwise the backing lineup became Naux (Juan Maciel) on guitar and Fred Maher on drums.

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TVD Radar: Doin’ My Drugs documentary to debut On-Demand 12/1

VIA PRESS RELEASE | In his directorial debut filmmaker Tyler Q Rosen offers a revealing and inspiring documentary about how a man and his guitar can be the beginning of change for an entire nation, one person at a time.

Doin’ My Drugs is a profound and personal look at the extraordinary life of musician Thomas Muchimba Buttenschøn as he uses music in an effort to wipe out AIDS in his native Zambia and beyond. Born in Zambia in 1985 to a Zambian mother and Danish father, Buttenschøn was diagnosed HIV positive as an infant. After emigrating to Denmark with his family for treatment, Thomas lost both of his parents to AIDs at the age of nine and became deathly ill himself at 13. Upon regaining his health after beginning antiretroviral (ARV) treatment, he threw himself into music, and at 20, became a Danish pop star.

After marrying and fathering two sons, Thomas reconnected with family in Zambia, and was shocked to discover that the country remains trapped in a senseless HIV/AIDS epidemic. While he is able to live a full and healthy life with the virus, a staggering 13% of Zambians who are infected with HIV remain untreated because of the social stigma attached to the virus, and the resulting reluctance to get tested, despite the availability of free treatment from their government. Determined to make a difference, Thomas has dedicated his life to using his music and his own story to raise awareness about HIV and treatment in Zambia. Teaming with an extraordinary group of Zambian musicians, Thomas embarks on a crusade to wipe HIV and AIDS in Zambia, and throughout Africa.

The film is executive produced by longtime HIV/AIDS activist Jake Glaser of The Elizabeth Glaser Pediatric AIDS Foundation. EGPAF seeks to end global pediatric HIV/AIDS through prevention and treatment programs, research, and advocacy. Released by Freestyle Digital Media, the film distribution division of Byron Allen’s Entertainment Studios.

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TVD Radar: Mary J. Blige, My Life 2LP and 3LP sets in stores 11/20

VIA PRESS RELEASE | UMe’s Urban Legends, the label imprint and cross-platform initiative devoted to the curation and celebration of over three decades of urban catalog music and culture, and Soul In The Horn, an innovative digital movement that seeks to bridge cultural gaps by bringing together a diverse cross-section of creative talents, have teamed up to create an extraordinary one-of-a-kind 3-D experience for ardent Mary J. Blige fans that celebrates the November 29 anniversary of My Life, one of the most critically acclaimed and important R&B albums of all time.

Over the past few days, 500 randomly selected superfans from her newsletter and website, ages 21+, received an invitation to dive into a dynamic online environment full of rare content via mobile or desktop that mirrors virtual reality. Custom-built so fans can interact with one another as well as with digital concierges designed to guide them on-demand throughout the journey, UMe’s Urban Legends and Soul In The Horn provide VIP access to My Life music, performances, visuals and more.

Mary J. Blige, the legendary singer-songwriter, actress, philanthropist and honorary Queen of Hip-Hop Soul, will re-release her acclaimed 1994 sophomore album, My Life, on November 20 via Geffen/UMe. The album will be released in three physical forms: a 2CD, a standard weight black double vinyl, and a triple vinyl edition in translucent blue with a lenticular cover, including bonus tracks featuring LL Cool J, and Smif ‘N Wessun. The 3LP edition will also be available digitally which will also feature commentary by Mary J. Blige on the original album tracks. From her No. 57 hit “You Bring Me Joy” to her No. 22 version of Rose Royce’s 1976 soul classic “I’m Going Down,” My Life was one of Blige’s most creatively vital works to date.

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Graded on a Curve:
Gene Clark,
No Other

Celebrating Gene Clark who would have been 76 this week.Ed.

Talk about your impeccable resumes. Not only was Gene Clark a founding member of jangle rock pioneers The Byrds, he was also half of alt-country band Dillard & Clark and a great solo artist to boot. But not even this list of accomplishments could win Clark’s 1974 album No Other—which he considered his masterpiece—an audience. To be blunt, No Other was a flop, mainly because Asylum Records declined to promote the LP, both because they didn’t see any hits on it and because they were appalled by the time and cost it took to produce the record, which featured such notables as Chris Hillman, Jesse Ed Davis, Danny Kortchmar, Russ Kunkel, and Butch Trucks. Indeed, by 1976 Asylum had deleted No Other from its catalogue altogether.

It even took the critics a long while to realize that No Other—a lush, lovely, and even visionary work—was worth every dime and hour spent to make it. Clark—a psychedelic kinda guy who hung out with the likes of Dennis Hopper and David Carradine—was said to have ceased feeding his head when he composed the songs on No Other, but they’re spiritually deep nonetheless. They’re also disparate in terms of influence: this was no pure country rock LP, but an agglomeration of folk, country, rock, gospel, even R&B and funk. And to think it was initially intended to be a double LP, until Asylum head honcho David Geffen blanched at the $100,000 the project had already cost.

As I noted above, No Other has a deeply spiritual feel to it—it possesses the gravity of a work only possible by an artist who has opened his head and journeyed to the 5th Dimension, ultimately emerging wiser as he returned to our far more prosaic world. Which may sound like hippie bullshit, and may even be hippie bullshit, but I buy it, Clark’s fascination with Carlos Castaneda, Theosophy, and all. Far more ornate than his three previous solo records, due in part to his pairing with “spare no cost” producer Thomas Jefferson Kaye, No Other features lush and unusual arrangements; backup vocals from the likes of Clydie King, Claudia Lennear, Shirley Matthew, and Vanetta Fields, amongst others; and lots of overdubs.

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Me Nd Adam,
The TVD First Date

“We grew up in Austin, a music-obsessed town where respect for vinyl runs deep.”

“Austin is home to one of the most iconic record stores in the world, Waterloo Records, which is where we each bought our first album. I think Vince’s was Kiss’s Double Platinum—he doesn’t like people to forget that—and mine was Willie Nelson’s Stardust, a Texas classic.

We love vinyl. Our forthcoming debut, American Drip Part 1, is available exclusively on vinyl and via your preferred streaming service.”

“When I was 22, my girlfriend’s sister moved into a fixer-upper where the previous tenants had left all of their collections behind.”

“One of those collections was thousands of records, including some of the greatest orchestral and operatic pieces (think Stravinsky and Beethoven) recorded by the greatest symphonic orchestras in some of the most iconic locations, including the Taj Mahal and Sistine Chapel.

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Graded on a Curve:
Nine from Mute Records

Formed in 1978 by Daniel Miller, Mute Records has prospered in the decades since and continues flourishing right up to the present, as is made clear by the 2020 releases reviewed below by Daniel Avery, Apparat, Nicolas Bougaïeff, HAAi, Pole, and Cabaret Voltaire. With the exception of the digital-only material by Apparat, everything is available on vinyl and CD, and it’s all out now, except for Shadow of Fear by Cabaret Voltaire, which arrives on November 20.

Daniel Avery made his initial splash back in 2013 with his full-length debut Drone Logic, but more recently, as in earlier this year, he issued Illusion of Time, a collab with Alessandro Cortini (he of Nine Inch Nails). Love + Light is described as a surprise release on Mute/Phantasy in the US and Canada and on Phantasy alone throughout the rest of the world. No longer a surprise: the digital has been out since June, but the CD and vinyl have belatedly shipped earlier in November.

While Illusion of Time is notable for the absence of rhythm, Love + Light is drenched in club-thump underscoring its maker’s beginnings in techno. Some might wonder if Avery’s backsliding, but it’s really more a case of his undiminished interest in the style. I’ll add that the record effectively branches out, and right away with a slice of ambient in “London Island.” He also ratchets up the racket in “Searing Light, Forward Motion.”  Note that the vinyl offers 12 tracks and the full release features 14 for a total just a smidge over one hour, as Avery’s individual selections are largely concise. B+

Apparat, aka Berlin-based electronic musician Sascha Ring, has also moved away from dancefloor-ready techno, heading toward the ambient but more recently soundtrack works as documented in an aptly named series of digital releases. The first, Soundtracks: Capri-Revolution, was review in TVD’s New in Stores column on May 1. We consider the subsequent three here.

Soundtracks: Stay Still, recorded for a German feature directed by Elisa Mishto, came out in May, and it blends hovering, glistening ambience with melodic touches, but with the synth-poppish “BK LULU,” complete with gal vocals, dropped roughly in the middle. Released in June, Soundtracks: Dämonen provides the music for a theatrical play by Sebastian Hartmann adapting Dostoevsky’s Demons, with an emphasis on chamber strings (at times heavily bowed, very nice), a little spare pluck-strum, and even some cathedral-style organ.

But it’s not like he lost touch with his electronic side. The same is true of Soundtracks: Equals Sessions, which was issued in July as the final entry in the series, featuring work from Ring and Dustin O´Halloran for the 2015 feature by Drake Doremus. As a dystopian sci-fi romance starring Kristen Stewart, Equals the film is a higher-profile and bigger-budget affair than either Stay Still and Dämonen, a reality that’s absorbable as Equals Sessions plays, though there is stylistic unity, including some churchy keyboard and some singing (guy vocals this time out). B+/ A-/ A-

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TVD Radar: Newport Folk Festival releases
A Change Is Gonna Come, 2LP in stores early 2021

VIA PRESS RELEASE | Featuring Jon Batiste, Mavis Staples, Leon Bridges, Gary Clark Jr, Valerie June, Brandi Carlile, Maggie Rogers, Rachael Price, Chris Thile, Bermuda Triangle and the Preservation Hall Jazz Band backed up by The Dap-Kings.

Recorded during the finale of the 2018 Newport Folk Festival, A Change Is Gonna Come was a once-in-a-lifetime collaboration between some of our very dear friends. Featuring Jon Batiste, Mavis Staples, Leon Bridges, Gary Clark Jr, Valerie June, Brandi Carlile, Maggie Rogers, Rachael Price, Chris Thile, Bermuda Triangle and the Preservation Hall Jazz Band backed up by the inimitable Dap-Kings.

A Change Is Gonna Come is being issued as a limited edition 2-record set pressed at RTI on premium 180-gram vinyl and housed in a genuine old style tip-on gatefold jacket. Limited to 1,000 hand-numbered copies, each pre-order comes with an immediate free digital download of the recording. Vinyl will ship in early 2021. Fans can pre-order the album here today. Proceeds will support Newport Festivals Foundation’s ongoing initiatives to support musicians in need and music programs across the country.

“In the Spring of 2018, I was in the famed Studio A of Electric Lady Studios watching Jon Batiste and The Dap-Kings blow the minds of those fortunate to attend one of our first live Newport Festivals Fundraisers. Immediately afterward, sitting with Jon in the control room digesting what we all had just experienced, we both knew this needed to be witnessed by more than just a handful of lucky souls,” says Newport Festivals Executive Producer Jay Sweet. “And so the idea was born to close the 2018 Newport Folk Festival with a set we called ‘A Change Is Going to Come,’ a celebration of the festival’s storied history with the civil rights movement.”

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TVD Radar: The Offspring, Conspiracy
of One
20th anniversary color vinyl reissue in stores 12/11

VIA PRESS RELEASE | To commemorate its 20th anniversary, Conspiracy of One, the sixth album by punk rock trailblazers the Offspring, will once again be available on vinyl—the first time since its release in 2000. On December 11, Round Hill Records/UMe will release a deluxe version of Conspiracy of One pressed to yellow and red splatter vinyl, which includes spot gloss on the cover and a custom turntable slipmat featuring the Offspring’s flaming skull silhouette logo. A non-deluxe, limited-edition canary yellow vinyl variant will be available on uDiscover & The Sound of Vinyl. A standard black vinyl version will be released in early 2021.

All editions will feature the bonus track “Huck It.” The anthemic, sub-three-minute blast was featured on their 2000 VHS/DVD Huck It and used to soundtrack various skateboard stunts, including longtime Offspring drummer Ron Welty doing a successful board-to-board leap over two of his bandmates. “Huck It” will be released as a stand-alone digital single on November 13. A lyric video featuring footage from the Huck It VHS/DVD will also be released on November 13. In addition, the official videos for Conspiracy’s first two singles—”Original Prankster” and “Want You Bad”—will be available on the Offspring’s Official YouTube channel in newly remastered HD.

Conspiracy of One, the first Offspring album of the 21st Century, was the fourth album from the game-changing punk group to be certified Platinum, a feat completed only a month after its release on November 14, 2000. The album is best known for its lead single, “Original Prankster,” a song that broke the Billboard Top 100 and hit Number 2 on the U.S. Alternative Airplay charts. The song and its mischievous video by director Dave Meyers included a funky sample from War’s “Low Rider” and a cameo from hip-hop legend Redman. The album’s follow-up single, “Want You Bad,” could be heard in the film American Pie 2 and the video game Crazy Taxi 3: High Roller.

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Graded on a Curve: Jethro Tull,
Stand Up

Celebrating Jethro Tull guitarist Martin Barre on his 74th birthday.

Sometimes you amaze yourself. Or perhaps I should say stupefy, dumbfound, perplex, befuddle, mystify, outrage, and downright disgust yourself. Such was the case when I recently ran over a “little person” in an abortive attempt to pass the D.C. driver’s test. I never saw him; in my defense, he was a very little little person. More like a half-little person. And such was also the case when I decided to review Jethro Tull’s Stand Up, solely as a joke and a chance to pan defenseless Englishman Ian Anderson, who for some inexplicable reason stands poised on one leg while playing the flute, like a hippie flamingo.

Only to discover, horror of horrors, I actually like the damn thing. Who was it that said, “He came to mock but remained to pray”? Because I’ve always considered Jethro Tull, despite a handful of songs I truly like, ridiculous, due largely to Anderson’s flute, an instrument (in my humble opinion) suitable only for tossing out the window. What’s more, Jethtro Tull always struck me as fairly dim. I clearly remember thinking, when they put out 1972’s Thick as a Brick, that it wasn’t the brightest move, touting one’s low IQ on one’s own album cover.

I picked 1969’s Stand Up for the historically important reason that it has a song called “Fat Man” on it. A Facebook friend gave me the idea, and I fully intend to unfriend her. A short history: Jethro Tull (they filched their name from a pioneer of the English Agricultural Revolution) was formed in 1967 as a blues-rock outfit in Luton, Bedfordshire, a town once famed for hat-making. The concrete hat was invented there, and the resulting epidemic of neck injuries very quickly put an end to hat-making in Luton.

Tull’s debut This Was—which includes jazz flute horror “Serenade to a Cuckoo”—came out in 1968, at which point original guitarist Mick Abrahams split to form Blodwyn Pig, balking at Anderson’s decision to expand the band’s sound to incorporate Celtic, folk, and classical influences. (Fun fact: Black Sabb’s Tommy Iommi briefly replaced Abrahams, until Anderson settled on the courtly Martin Lancelot Barre. Fun fact #2: Yes’ Steve Howe flunked the audition!)

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