Category Archives: The TVD Storefront

TVD Radar: Saturday Night Fever 40th Anniversary Edition in stores 11/17

VIA PRESS RELEASE | In 1977 Saturday Night Fever defined an era with its Bee Gees-led soundtrack driving the film’s dancefloor action.

A worldwide smash upon release and an essential modern classic, Saturday Night Fever (The Original Movie Soundtrack) produced four No. 1 singles and won the GRAMMY Award® for Album of the Year. On November 17, Capitol/VirginEMI will release the illustrious soundtrack’s 40th Anniversary Edition in expanded formats including a super deluxe box set that pairs the remastered album and remixes with the film’s 4K-restored 40th Anniversary Director’s Cut. “Forty years ago, Saturday Night Fever was released and the impact that came from it, even today, is inexplicable. It was inexplicable even then,” writes the Bee Gees’ Barry Gibb in his new essay for Saturday Night Fever (The Original Movie Soundtrack) 40th Anniversary Edition.

Composed and performed primarily by the Bee Gees, the legendary album’s mega-hits include “Stayin’ Alive,” “Night Fever,” “How Deep Is Your Love,” “More Than A Woman,” and “If I Can’t Have You.” Certified 15-times multi-platinum by the RIAA for U.S. album sales totaling more than 15 million, Saturday Night Fever (The Original Movie Soundtrack) has sold more than 40 million copies around the world. The album topped the U.S. album charts at No. 1 for 24 consecutive weeks and remained on Billboard’s albums chart for 120 weeks, also holding the No. 1 spot on the U.K. album charts for 18 consecutive weeks. In 2004, Saturday Night Fever (The Original Movie Soundtrack) was inducted into the GRAMMY Hall Of Fame® and it was added to the U.S. Library of Congress’ National Recording Registry as a culturally significant work in 2013.

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Dhani Harrison,
The TVD Interview

From seeing it happen way too often, the publicist for Dhani Harrison asked not to start right out with questions about his Beatle dad (and that we might shy away from the overused headline “Here Comes the Son”).

Harrison the Younger may be able to hold his own on guitar—most vividly amid Tom Petty and Prince on an oft-seen Rock and Roll Hall of Fame video of “While My Guitar Gently Weeps.” And he might be a spitting image of his dad, who died almost 16 years ago at 58.

But the only son of Harrison, now 39, has also made his name in soundtrack composition for films like Beautiful Creatures and Learning to Drive and for TV series that include Good Girls Revolt, The Divide, Outsiders and the new White Famous. An honorary member of the Traveling Wilburys (where his pseudonym was Ayrton), he’s released three albums as part of thenewno2 and joined Ben Harper and Joseph Arthur in the supergroup Fistful of Mercy.

But only this month comes his first solo album, In///Parallel, on BMG. With rock, electronica, Middle Eastern, and symphonic Western orchestral influences, and a smokily familiar voice, it has lyrics that seem especially prescient to these dark political times.

Our interview with Harrison was delayed a week in part by further sadness: the death of Tom Petty October 2, of which he has said, “I definitely haven’t felt any loss like this since my dad.” But connected on the beach in California, he spoke about the right time for a solo release, how people might have been waiting for him to fail at 20, the secret to happiness, and Petty.

Where do you make your home now?

Los Angeles, on the West Side. I have my studio there. My mother is from LA, so I still have my grandma here; most of my living family is here. So I get back to England as much as I can. It’s beautiful out there. I really want to move back there. But, for now, working in the film industry in Hollywood and everything, you’ve got to be on call.

What made you decide to put out your first solo album now after doing work with your bands and doing soundtrack work?

I kind of feel like no one was expecting it. It was a good, confusing tactic. I think people had given up on me making a solo record, and I wanted to make something that was really true to who I was. And it took a long time to develop that. Obviously, with a composing career, it gave me so much more —I don’t know whether to say it’s confidence or skill, but I wasn’t able to make the record I wanted to make before.

And after years of doing different, more classically-trained stuff, just being more in the sphere of soundtracks all of the wonderful instruments that are used on them, I felt like now I’ve developed myself as an artist; I’ve got everything I needed to do under my belt, so there’s no question.

I think, a lot of people, if I had done this when I was 20 in England, they would have been really dying to see me fail. That’s all gone now. I’ve had my musical career and now I’m doing a solo record, because I really did just engineer and record and mix this whole thing myself, so by the end of it, my friends were like, there’s no point of this being a newno2 record, you should just go to the next level—do it as a Dhani Harrison record.

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TVD’s Press Play

Press Play is our Monday recap of the new and FREE tracks received last week to inform the next trip to your local indie record store.

ATTEMPT – Against The Light
Jared Saltiel – Wayward Queen
Robin Jackson – Drifting At Sea
Little Shrine – Stone
Goon – Monday Monday Monday (Tegan & Sara Cover)
Tree Machines – Like A Drum
ash.ØK – The Unraveled

Tears For Fears – I Love You But I’m Lost

YØUTH – Someone New
The Dream System – Losing All of You
Cotton Mather – Eleanor Plunge
Rews – Your Tears
Mo Troper – Wicked
Caustic Casanova – Lord Pinto
Stereotype – Hold Up

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Graded on a Curve:
J. Geils Band,
“Live” Full House

A few words on the evolution of this review: I originally intended to write about 1977’s Foghat Live because I consider it the best live album this side of Jerry Lee Lewis’ 1964 Live at the Star Club, Hamburg, which I love even more than Roxy Music’s 1976 Viva! Roxy Music, which is guaranteed to make your ears clasp their tiny little hands and say, “Glam bam thank you ma’am!”

But then my friend Hank Dittmar who has forgotten more about music than I’ll ever know recommended this 1972 live album by the J. Geils Band, whom I saw at Shippensburg College in the late seventies but can’t really remember seeing at Shippensburg College in the late seventies because I was totally blotto on a combination of Wild Turkey and Placidyl, the latter of which I can only describe as an industrial strength memory dissolvent.

So I decided to review “Live Full House and let me tell you I’m glad I did. It ain’t Jerry Lee Lewis and it ain’t Roxy Music but man do the J. Geils Band cook. They mainly stick to the rock and R&B basics but they infuse what are of course a couple of formulas as old as the hills with so much passion you’ll find yourself jumping up and down and screaming along with Peter Wolf who can really shout ‘em out for a white boy. And when he’s not busy emoting, Magic Dick who is my second favorite Dick in rock’n’roll behind Handsome Dick Manitoba, is busy honkadonkin’ up a storm on the old harpoon. Just check out his set piece “Whammer Jammer” if you don’t believe me.

One of the things that make this such a great live LP is the fact that the J. Geils Band keep the songs short instead of dragging ‘em out forever like so many other bands were doing at the turn of the decade. Even the one on which Wolf talks to the audience clocks in at well under 5 minutes, and that’s got to be some kind of record for the time. Steve Marriott, God bless him, wouldn’t have shut up for a good long quarter of professional football. I would love to say the band never lets up or lets things go slack but more or less keeps things jumping at a fever pitch except they kinda do on their otherwise mean as a snake cover of John Lee Hooker’s “Serves You Right to Suffer.” And they do it again on the only original on the LP, “Hard Drivin’ Man.”

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TVD Radar: Jack White to keynote Making Vinyl Detroit, 11/6

VIA PRESS RELEASE | There’s no bigger champion of vinyl than Jack White and he will honor Making Vinyl with his presence on November 6 at the Westin Book Cadillac Hotel as the keynote speaker, capping a full day of sessions of experts discussing the astounding rebirth of the global record manufacturing industry.

Jack’s Third Man Pressing (TMP) is also Making Vinyl’s hometown sponsor and all delegates will have the opportunity to tour the new vinyl factory, which opened in February, on the afternoon of November 7. Additionally, TMP technicians will be on various Making Vinyl panels. “Jack White is the perfect keynoter for Making Vinyl because he knows first-hand what it takes to set up a new vinyl factory,” stated Bryan Ekus, president of Colonial Purchasing Co-op, the producer of Making Vinyl.

TMP is the latest piece of White’s vertically integrated music-making empire. He’s ushered in such “nothing-can-stop-us” innovations as the “World’s Fastest Record” (the fastest studio to store recording ever made which was released Record Store Day 2014) to shooting a playing phonograph into space for Third Man Records’ 7th anniversary in July 2016. The record? TMR’s single release of Carl Sagan’s “A Glorious Dawn.”

Always achieving new levels of vinyl manufacturing ingenuity, White’s solo album Lazaretto—the biggest selling vinyl album of 2014 and the biggest selling vinyl album in a single year in the SoundScan era—at various places on the record played at 33, 45, and 78-rpm, among other astounding features.

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TVD Radar: 7-inches for Planned Parenthood in stores 11/17

VIA PRESS RELEASE | Earlier this year, members of the creative community announced 7-inches for Planned Parenthood, a curated series of 7-inch vinyl records and digital downloads to benefit Planned Parenthood. Today, we are excited to announce that the digital version will be made available on October 20th, while the full physical boxset will be available November 17th.

The box set includes new or never released tracks from Foo Fighters, Sharon Van Etten, and Sleater-Kinney as well as exclusive performances from comedians Jenny Slate, Zach Galifianakis, and Tig Notaro, spoken word by Dr. Willie Parker and Margaret Atwood, collaborations from St. Vincent and John Legend, and so much more.

The creative collective behind 7-inches for Planned Parenthood states: “Lawmakers with extreme views are working hard to shut down Planned Parenthood. If they succeed, millions of Americans will lose access to basic health services, including STD testing and treatment, birth control, and life-saving cancer screenings.

7-inches for Planned Parenthood is a response to this threat. This curated series of 7-inch vinyl records is being made by a group of people who believe that access to health care is a public good that should be fiercely protected. Do we know there’s a joke in the name? We do. We hope the title evokes the rich history of 7-inch vinyl records as a medium for protest music and resistance.

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TVD Vinyl Giveaway: Robert Plant, Carry Fire Test Pressing

What’s more rare than a Led Zeppelin reunion tour? Why, that would be a test pressing of Robert Plant’s brand new LP Carry Fire—however we have one to give away to one of you. First, some official background on the new release which is in stores right this very moment:

Robert Plant’s new album, Carry Fire, is out now on Nonesuch/Warner Bros. Records. To pick up a copy, head to your local record store, iTunes, Amazon, and the Nonesuch Store, and listen now on Spotify, Apple Music, and YouTube.

The new album is “transfixing,” exclaims NPR’s Tom Moon. “Plant and his collaborators create music that overflows with irrepressible life force … Carry Fire is rivetingly intimate.”

“There are few undisputed rock stars this accomplished still taking musical risks,” exclaims the Associated Press reviewer Mark Kennedy. “Plant’s songwriting remains a class above, even as he nears 70. ‘Out here the fire’s still burning / So long into my night,’ he sings. Long may it burn.”

Plant discussed the roots of the album with the New York Times’ Jonathan Ringen, who calls it “a swirling mix of deep blues, mountain music, North African rhythms, and Zeppelin-heavy weight … The result is a heady, autumnal record, blending Mr. Plant’s early influences … blues-fueled riffs, Berber sounds and Bristol trip-hop sonics.”

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Gollay, The TVD First Date and Video Premiere, “Built For Love”

“My first experience with vinyl records was through my parents’ hifi system growing up—classic rock and pop like the Beatles in all their various forms, Michael Jackson, Elton John, Cyndi Lauper. My dad used to put Stray Cats’ Built for Speed on while I rollerbladed laps around our unfinished basement.”

“The first vinyl I bought for myself wasn’t until college in the mid 2000s, when the format started to come back into vogue and it became increasingly common to find new 7” singles and LPs at merch tables. I picked up a copy of Midlake’s Trials of Van Occupanther at Recycled Books in Denton, Texas, where the band hails from. It endures as one of my favorite full-length records.

In that vein, as I cultivate a modest collection, I tend to “reserve” vinyl for my most beloved albums and artists: Miriam Makeba’s Pata Pata, St. Vincent’s Strange Mercy, Owen Pallett’s Heartland, Neko Case’s Fox Confessor Brings the Flood, J Dilla’s Donuts. Pouncing on reissues I hear about online makes it easy to zero in on what I’m looking for, but picking my way through the vinyl sections of any shop I come across satisfies the searching-for-hidden treasure impulse.

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Graded on a Curve:
Dave Matthews Band,

I am listening to Crash by Dave Matthews Band. I can only liken the experience to sticking my head in a big boiling bowl of suck. Why, you may ask, am I doing this? I’ll be damned if I know. I have always hated the Dave Matthews Band. Matthews’ unique brand of wussified jerk wank is anathema, the very essence of pure unadulterated pussification. My sister-in-law went to a Dave Matthews concert once and ended up in a hair-pulling tussle with another woman. The music of Dave Matthews has this effect on people.

1996’s Crash is often lauded as the best LP by the Dave Matthews Band, but this is rather like calling Mussolini the best dictator of the mid-Twentieth Century. What you’re really saying is it’s the least awful Dave Matthews Band LP. But awful is awful no matter how you slice it, and Matthews’ frat boy take on the jam band “Konzept” does for the Grateful Dead what Charles Manson did for hippies—namely, make people flee for their lives from what was theretofore a relatively benign cultural phenomenon. Seemingly sane humans are always telling me you have to see Matthews live to “get him.” Maybe so. But I would submit that the same can be said about a catastrophic plane crash. I think I’ll stick to watching Alive for the 97th time, thank you very much.

I suppose the reasons for hating the Dave Matthews Band vary from person to person, so I’ll come right out and say the reason I hate the Dave Matthews Band is I can’t stand the quirky way words emerge from Dave’s mouth. In any given song the first word may come out with a horrifying pop and the next word may come out all frat boy funky and then comes some over-earnest crooning and on it goes in a rapid timbre-shifting gush of vocal splooge designed to test my admittedly low pain threshold. Which is just another way of saying his vocal style is idiosyncratic and uniquely irkifying, which isn’t a word but sums up the effect Matthews’ vocal quirks have on my poor brain, which never stood a chance because a clearly vengeful God saw fit to give me ear holes running straight to it.

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TVD Radar: Making Vinyl proud to host delegates from Japan, China, New Zealand,
and Europe

VIA PRESS RELEASE | A worldwide “who’s who” of the pressing industry will be on the “big plant” panel, represented by venerable powerhouses who never gave up on the format, including United Record Pressing (Nashville, TN), Furnace MFG (Fairfax, VA), GZ Media (Czech Republic), MPO (France), Rainbo Records, and Record Technology Inc. (both Californian).

Making Vinyl will also feature representatives among those who recently took the vinyl plunge, such as our hometown Detroit host and sponsor, Jack White’s Third Man Pressing facility (all attendees get a tour), Memphis Record Pressing, Furnace Record Mfg. (Virginia), Quality Record Pressing (Kansas), SunPress Vinyl (Florida), Cascade (Oregon) and Micro Forum (Toronto).

Who’s outfitting all these new pressing plants? At Making Vinyl, representatives from the new pressing machinery vendors, including Viryl Technologies and Pheenix Alpha, as well as galvanic system specialist Digital Matrix together with vinyl suppliers, Resinoplast, CAF & Sabic. We’ll also get perspectives from record labels and independent retailers, as well as market researcher BuzzAngle on why Record Store Day’s double-digit growth over the past decade shows that the vinyl boom is here to stay.

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