Category Archives: The TVD Storefront

TVD Radar: The Podcast with Evan Toth, Episode 35: Gina Schock

If you’re hoping to be a rockstar, you’ve got to have drive, ambition, a sense of luck, faith and—perhaps, most importantly—you’ve got to have a great sense of humor. Gina Schock has all of those attributes, and more, and she needed those tools to hold down the backbeat for the most successful all-female band of all time, The Go-Go’s.

If you saw the recent Alison Ellwood directed documentary, The Go-Go’s, you’ll know that the band soared to the highest showbiz highs and sank to some pretty lousy lows. Witnessing the entire rock and roll rollercoaster from the drum throne was Gina Schock who joins me to talk about many things currently buzzing in the world of The Go-Go’s, but specifically the 20th anniversary and reissue of their 2001 reunion album, God Bless The Go-Go’s which will be released on May 14 (Eagle Records).

Gina and I discuss the making of that album, including Billie Joe Armstrong’s contributions. You’ll hear Gina rifle through her vinyl collection and pick out some of her favorites. We also chat about a book that she’s currently completing about her experiences in The Go-Go’s. Most significantly, we talk about the band’s nomination for this year’s roster of the Rock and Roll Hall of Fame.

If you want to be a rockstar drummer, you’ve got to be in tune with your heartbeat and keep the tempo tight and unwavering. If you walk away from our chat learning nothing else about Gina Schock, it’s that Gina doesn’t just have the beat, she’s got the heart.

Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector, and hi-fi aficionado. Toth hosts and produces The Evan Toth Show and TVD Radar on WFDU, 89.1 FM. Follow him at the usual social media places and visit his website.

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TVD Radar: Ethiopian
& His All Stars, The Return of Jack Sparrow 2LP in stores 6/25

VIA PRESS RELEASE | When Omnivore Recordings acquired the label Nighthawk Records and Blackheart Music Publishing in 2017, it kicked off reissuing Nighthawk’s catalog with an album that until then had remained unreleased: Ethiopian & His All Stars’ The Return of Jack Sparrow. On June 25, 2021, that album will be available as a 2-LP vinyl package. The CD and digital remain available.

Reggae legend Leonard Dillon, better known as the Ethiopian, was the founder of one of Jamaica’s premier ska, rocksteady, and early reggae sensations, the Ethiopians, but got his start under the name Jack Sparrow. His early solo Sparrow single efforts, some backed by the Wailers, didn’t yield any hits and prompted him to form the Ethiopians, with whom he found his first success. So popular was their track “Train to Skaville” that the band was able to tour beyond Jamaica; they headed to the U.K. in 1968. “Train to Skaville” sold over 50,000 copies in Jamaica and although it only made a slight appearance on the U.K. charts it left a lasting impression — so much so that it was later covered by the Selector during the ska revival of the early ’80s.

The Ethiopians maintained a successful career until the tragic passing of band member Stephen Taylor in 1975, victim of a car accident. Though other lineups of the Ethiopians were recorded, by 1978 Leonard was a solo artist releasing his first album that year, Open the Gate of Zion.

By 1986 Leonard had already recorded two albums under his own name when he paired with Gladiators for Dread Prophecy on Nighthawk Records (currently available on CD / LP / Digital). What isn’t commonly known is that Leonard had also recorded a second album for Nighthawk that remained unissued until Omnivore released it on CD and Digital in 2018.

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Mat Kearney,
The TVD First Date

“At sixteen I convinced my dad to let me buy a 1968 Volkswagen square back with $1,500 dollars I had earned as a bat boy for our local minor league baseball team.”

“I think the car ignited my interest in all things retro. My friends and I got deep into thrifting. The goal was to find the most ridiculous ’70s butterfly collar shirt from Goodwill and wear it with a smirk confidently. I remember a friend took me to a store called Donkey Salvage which introduced me to a more refined version of what thrifting could be.

The store had a quietly cool owner who curated items from the ’50s and ’60s along with a modest selection of jazz and blues records. I ended up hanging out at Donkey Salvage all the time. The owner constantly was spinning music and I would grill him with questions about artists like Dave Brubeck, Billie Holiday, and Dizzy Gillespie.

When I realized his ’50s Magnavox console record player was for sale, I gave him $100 and loaded it into the back of my VW. I look back at that moment as the beginning of my great love affair with vinyl, and really music in general. I discovered artists like Al Green, Louis Armstrong, and Miles Davis. The more I dug in the more I found a world that felt entirely my own.

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Graded on a Curve: Taylor Swift,

I like to think I’m an open-minded individual. But in truth I’m about as open-minded as Cotton Mather. Still, I occasionally attempt to broaden my horizons by listening to music I know damn well I’ll hate. And that’s where Taylor Swift comes in. People I respect have been telling me for years how great she is, but I was damn well sure the odds of my enjoying her music were right up there with being killed by space debris.

But something happened on my way to the vomit bag. Turns out I love Swift’s music. It’s frothy pop fun and comes complete with an important societal message, namely that romantic relationships are hell, guys are cretins who don’t know a good thing when they see one, and the best way to take revenge on the pricks is by skewering them in song. Swift’s tumultuous love life has long made for juicy tabloid fodder, and people with nothing better to do spend a lot of time putting names to the subjects of her songs. One thing they know for sure; fuck with Taylor’s heart and you’ll have your balls handed to you on Disney+.

1989 marked Swift’s total immersion into synthesized pop music. It’s right there in the ad campaign for NYC that is “Welcome to New York,” the only song on the LP not about interpersonal relationships of the fucked-up sort. Instead it marks the end of Swift’s transformation from Nashville ingenue to Manhattan sophisticate. She makes this very clear in the funky “”Style,” which harkens back to “Vogue,” Madonna’s celebration of the Manhattan glam dance scene.

On the beat-heavy “Blank Space,” Swift warns that looks can be deceiving (“I’m a nightmare dressed like a daydream”), brags about her superhuman transformative powers (“I can make the bad guys good for a weekend”), but concedes she’s willing to go the distance if you are. On “All You Had to Do Was Stay” boy hurts girl then wants girl back, but she’s not the sort of girl who hands out second chances.

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TVD Radar: Morphine, Cure For Pain (Deluxe Edition) for preorder via Run Out Groove

VIA PRESS RELEASE | Morphine Cure For Pain (Deluxe Edition) is Run Out Groove’s new featured pre-order title this month; voted for by fans. One of the most underrated bands of the 1990s alternative rock scene, Boston’s trio of “low rock” released their sophomore album in 1993 and it went on to become their most beloved.

ROG painstakingly reconstructed this masterpiece by mastering from the original source tapes for the first time and expanding it to include unreleased and new to vinyl rarities. Cure For Pain has never sounded as good and is finally getting the reissue treatment is deserves. This individually numbered and limited release is available to pre-order until 6/10.

Each month, Run Out Groove allows fans to vote on the label’s next high-quality vinyl pressing, chosen from selections of unreleased material, reissues of out-of-print titles, titles that have never seen a vinyl release or brand-new collections compiled from the Warner Music vaults. You can vote on this month’s titles here.

For a selection of previous titles now available in stores, check our past titles section on the website. To locate older titles in our catalog that are sold out, please check our retail store locator. To check out titles we currently have for sale, please go to our shop section.

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Graded on a Curve:
Ooh La La

Remembering Ian McLagan on the date of his birth.Ed.

The Faces may well have been the best party band of their era, if not all time. The Rolling Stones were all sex and menace, the Who was a thinking man’s band, while the Kinks dealt in England’s hallowed past as viewed through the prism of its dystopian present. Which left the Faces, who boogied and drank to excess and were cheerful, mischievous lads, ne’er-do-wells of the sort who frequently got tossed out of parties for engaging in some innocent fun. Why, I wouldn’t be surprised to learn they even managed to get themselves thrown out of their own parties. They were, as the title of their excellent 1995 best-of compilation noted, Good Boys When They’re Asleep.

Rock’s most impish rotters only released four LPs. Or five if you count 1974’s live Coast to Coast: Overture and Beginners, which was credited to both Stewart and the Faces—a sly signal that Stewart’s band mates were no longer equals, but in effect had been relegated to his backing band. It was this development that caused the great Ronnie Lane to split the band, to be replaced on bass by Tetsu Yamauchi, and that soon led to guitarist Ronnie Wood’s desertion to the Rolling Stones, spelling the end of one of my favorite bands in the universe.

Lane’s decision to part ways with the Faces was partly attributable to Stewart’s comments following the release of the band’s final studio LP, 1973’s Ooh La La. Stewart, preoccupied with the enormous success of his solo career, largely left the LP’s recording in the hands of Lane, then came out in the press afterwards and called the results a “stinking, rotten album.” To quote another Faces tune, Rod, you’re so rude. Especially for a guy who would soon be releasing songs like “Do Ya Think I’m Sexy?”

But at their peak, The Faces were a great band, both in the studio and on stage. Its members included several former Small Faces in Ian McLagan on keyboards; Ronnie Lane on bass, guitars, and vocals; and Kenney Jones on drums and percussion. Indeed the Faces were the Small Faces, minus Steve Marriott—who formed Humble Pie and took his boogie in a decidedly harder direction than the Faces—but plus Ronnie Wood and Rod the Mod. Lane’s amiable vocals provided a nice counterpoint to Stewart’s raunchier trademark sandpaper rasp—to say nothing of his lascivious cackle—and the songs were often written by two or more members of the band.

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Graded on a Curve:
Ian Dury &
The Blockheads,

Remembering Ian Dury on the date of his birth.Ed.

You have to wonder how this album came to be called Laughter. The sessions that produced it were stressful and marked by discord; Chaz Jenkel was gone and personalities clashed. Ian Dury, who was juggling addictions at the time, was, by all accounts, almost impossible to work with. The subject matter is often dark, and very dark at that. So why the incongruous title? Said England’s most foul-mouthed polio victim matter of factly at a later date: “I called it Laughter to cheer myself up.”

That said, I have this to say about 1980’s Laughter; it never fails to make me laugh. Which is to say Laughter isn’t such an ironic title after all. Even at his most lugubrious Dury–who was, and will likely always remain, England’s most lovable vulgarian–cheers me up, and that’s a rare gift. Down in the mouth Dury may have been, but he hadn’t lost his cheek, and he still managed to produce an album chockfull of dance friendly grooves and happy-making pub rock sing-alongs. So what if “Uncoolohol” is a dark ode to the perils of alcoholism; I spent plenty an alcoholic night cheerfully slurring along to its rousing chorus while falling down drunk. Laughter is not unlike one of the later Beatles albums; John and Paul may well have hated one another’s guts, but you’d never know it listening to the music.

I have my favorites on Laughter. LP opener “Sueperman’s Big Sister” (that’s no typo) is all swing, strings, and vocal bluster–a funky dance floor raver that will simply sweep you off your feet. “Dance of the Crackpots” comes at you in a rush; Dury can hardly get the words out of his mouth fast enough. Harmonica and some great tap dancing by Will Gaines transform Dury into a mad square dance caller; he name drops Thelonious Monk and Rosemary Clooney, and utters the Inspirational verse: “Being daft is a therapy craft/Which sharpens up your wits.” “(Take Your Elbow Out of the Soup) You’re Sitting on the Chicken” is sheer joy to the ears, what with its mental nursery rhyme lyrics (“The mouse runs up your leg/It’s one o’clock in China”) and chorus you simply have to join in on.

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Scott McKeon,
The TVD First Date

“There’s something just really soulful about vinyl. The feel, the sound.”

“My first memories of vinyl are going up in the loft in our house when I was a kid and finding these old dusty boxes of records that belonged to my folks. I remember being fascinated by the album cover artwork and the dusty smell of the sleeves and cardboard. Albums like Donald Fagin’s The Night Fly, Stevie Wonder’s Fulfillingness’ First Finale, Frank Sinatra Live at The Sands, Glen Campbell’s By The Time I Get to Phoenix, MJ’s Off The Wall, Quincy Jones’ The Dude…

But when I was growing up, we didn’t actually have a vinyl player so I didn’t get the chance to actually experience listening to them until I got my own record deck. What I’ve always loved about vinyl is that you can see all the musicians’ credits and all the extra bits of artwork—seeing where it was recorded and who played guitar on what song, and seeing certain names keep cropping up, like Larry Carlton, Steve Gadd, and people who would master the albums like Bob Ludwig.

I really started getting into collecting vinyl myself in my twenties, and going back and listening to some of the original blues artists I love and their original vinyl records. Some of my favourite vinyl albums would be BB King Live at the Regal, American Folk Festival of the Blues which features a young Buddy Guy playing with Muddy Waters and Willie Dixon.

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Graded on a Curve: Screamers,
“Screamers Demo Hollywood 1977”

As one of the first punk bands to ditch guitars for electronics, Los Angeles’ Screamers are deservedly legendary, in part because the choice of instrumentation wasn’t an attempt to streamline or soften their sound. Additionally, they broke up before releasing any recordings. While numerous bootlegs eventually surfaced, their audio quality was predictably non-optimal, so that the arrival of “Screamers Demo Hollywood 1977” is reason to celebrate, as its five songs are sourced from the original reel-to-reel tapes. Issued by Superior Viaduct in black and red vinyl editions, both are already sold out at the source, which means folks desiring a copy will only find it in stores starting on May 14. Happy hunting!

The above might give the impression that Screamers were unjustly neglected while extant, but that’s not really accurate, as the video footage of their 1978 show at San Francisco’s Mabuhay Gardens captures a commanding performance in front of an appreciative crowd. Released first on VHS by Target Video as Live in San Francisco: Sept 2nd 1978, in 2004, the half-hour set was given a DVD upgrade with bonus footage. As Jon Savage mentions in his liner notes for this EP, it was that DVD (and its uploading to YouTube) that helped to spark fresh interest in the trailblazing group.

Spawned from an outfit called The Tupperwares, upon leaving Seattle for Los Angeles in 1976, they briefly adopted the moniker Gianni Bugatti and then settled on Screamers. By the next year, when the demos reissued here were recorded, the lineup consisted of two keyboard players, Tommy Gear and David Brown, with drummer K.K. Barrett and galvanizing vocalist Tomata du Plenty.

Barrett replaced Rio de Janeiro, whose obvious pseudonym, along with that of du Plenty (real name David Harrigan), point to the drag queen street theater roots of the group (Tommy Gear’s prior moniker was Melba Toast). Indeed, Du Plenty was a former member of the Cockettes in San Francisco; after leaving that troupe and moving to Seattle, he formed Ze Whiz Kidz in a similar vein, from whence the more musically focused Tupperwares emerged.

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TVD Radar: The First Six Dischord Records, 7-Inch Boxset for preorder now

VIA PRESS RELEASE | To mark our 40th year, we have created Dischord 200, a Box Set containing reissues of our first 6 releases in their original 7″ vinyl format as well as a 12-page booklet. All records have been remastered, all sleeves and lyric sheets reproduced from original art.

We have no idea of how many of these we should press, so we’ve decided to let the pre-orders make the call. This will be a mail-order only release and the window to place orders will be limited to one month (May 11th until June 11th, 2021). The Box Sets can only be shipped one at a time, so each order is limited to one. If you want more, you’ll have to make multiple orders.

Please note that the scale of this project combined with the delays at pressing plants have led us to believe that we may not be able to deliver the final piece until the end of 2021.

All six records have been remastered, with sleeves and lyric sheets reproduced from original art. Also included will be a 12-page booklet.

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TVD Radar: Independent Label Market: London announces its 10th Anniversary Summer Market, 7/10

VIA PRESS RELEASE | Independent Label Market celebrates its 10th anniversary with a special Summer Market on Saturday 10th July. Taking place at Coal Drops Yard, Kings Cross with a first class line up of independent labels and partners including 4AD, Rough Trade, Sunday Best, Moshi, and Music Declares Emergency. A celebration of music and vinyl culture plus DJ sets throughout the day and an after party at Spiritland. ILM is also teaming up with Dice and London Brewers Market to offer 10% discount on their finest beer, sign up here in advance. In 2021, the ILM Mentoring Scheme is working with Clue Records and Sad Club Records.

ILM is looking forward to a knock out summer event as 2021 marks the 30th London edition and 10 years of Independent Label Market. It all started with humble beginnings at Soho’s Berwick Street market in the summer of 2011. Since then, ILM has hosted 68 events across the globe and shared adventures with an eclectic crew of 600+ independent record labels from all over the UK to Paris, Berlin, Bari, Barcelona, Rome, LA, Hamburg, Toronto, New York and LA.

Joe Daniel, ILM Co-Founder says “When we came up with the idea for an indie label market, we never imagined doing a second one, let alone another ten years of events. The idea back in 2011 was to bring together our favourite labels to celebrate a particular kind of creativity and passion that you only find in the independent sector. The fact that we are here ten years later is a huge credit to the community of labels who consistently find new and exciting ways to grow and adapt in a fast changing industry. We love the camaraderie and their tireless commitment to presenting the most envelope-pushing music around.”

The ILM Summer Market takes place Saturday 10th July at Coal Drops Yard, King’s Cross with an all star crew of labels including 4AD, Bella Union, Brownswood, Caught by the River, Cherry Red, Erased Tapes, Fierce Panda, Fire / Earth, Full Time Hobby, Gare du Nord, Heavenly Recordings, Hyperdub, Late Night Tales, LEX, Matador, Memphis Industries, Moshi, Mukatsuku, One Little Independent Records, Partisan, Rough Trade, Sonic Cathedral, Sunday Best, Upset The Rhythm, Whities/ad93 and many more.

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Graded on a Curve:
The Animals,
The Best of The Animals

Celebrating Eric Burdon on his 80th birthday.Ed.

No single album can encompass the range of The Animals’ ’64-’65 run, but ABKCO’s recent vinylization of the ’88 compact disc The Best of The Animals comes pretty close. Gathering all the early hits without neglecting the enduring appeal of their R&B core, it sports the same cover photo as MGM’s 11-track ’66 LP while slightly modifying and significantly expanding the contents. 

The pop success of great rock bands, and the one formed in Newcastle upon Tyne when Eric Burdon joined the Alan Price Rhythm and Blues Combo definitely qualifies, often gets belittled as concession, cash-in, or more likely some combination of the two. The reality is that music and commerce, particularly in the middle of last century, weave together like amorous but argumentative vines. The four largest hits of The Animals’ first two years are all represented on this fresh reissue, which places onto vinyl the contents of a CD designed to usurp an LP not all that hard to locate in used bins at the time, at least in my neighborhood; this sequencing of The Best of The Animals (there have been others) includes the A-sides from the first nine 45s.

“House of the Rising Sun,” easily The Animals’ biggest commercial success, also endures and by a wide margin as their most famous recording. Indeed, sans exaggeration it can be described as one of the defining singles of the 1960s. A few may balk, but the sheer seriousness, ambition and intensity was unusual for ’64.

Gleaning a traditional tune found on Bob Dylan and Just Dave Van Ronk and in the process setting folk-rock into motion with an intercontinental smash (#1 in four countries, #2 in Australia, Top Ten in two more), it was a massive chart breakthrough achieved without compromising The Animals’ angelic comingling of blues, R&B, and R&R (it’s gobsmacking to note, but their producer Mickie Most was initially disinclined to record the song).

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Graded on a Curve:
Damien Jurado,
The Monster Who Hated Pennsylvania

The Monster Who Hated Pennsylvania is the twentieth album in the discography of singer-songwriter Damien Jurado (there are nearly as many EPs), but it’s the first he’s issued himself, doing so through his own imprint Maraqopa Records. Self-produced and stripped-back but methodically so (inspired by records like Lou Reed’s The Bells and Paul McCartney’s Ram), it’s another powerful statement that’s also distinctive, making it a fitting inaugural release for his new label. It’s out May 14 on vinyl, compact disc, and digital.

Damien Jurado just keeps putting out solid record after solid record, productivity that is duly noted in the music press (often with accolades) and soaked up by his listenership, but also without the sort of hubbub that frequently accompanies the activities of musicians with discographies as prodigious as the one Jurado has built.

That he’s a guy with a guitar and a voice singing songs (of which there is no shortage in the world) surely adds to the fairly measured response, but on the other hand, Jurado debuted on Sub Pop (back in 1997, with Waters Ave S.) and after four full-lengths with that company, commenced a long stretch, 11-albums deep, with Secretly Canadian (a run culminating with The Horizon Just Laughed in 2018).

Since then, he’s recorded two that were co-issued by Mama Bird Recording Co. in North America and Loose in the UK and Europe, which plants us firmly in the present. In the grand scheme of things, Jurado’s achievements can be assessed as substantial and his longevity rare, considerations that only increase after time spent with The Monster Who Hated Pennsylvania.

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TVD Radar: Curtis Mayfield, Curtis 2LP
and Charles Mingus,
At Carnegie Hall 3LP
for preorder now

VIA PRESS RELEASE | Each month, Run Out Groove allows fans to vote on the label’s next high-quality vinyl pressing, chosen from selections of unreleased material, reissues of out-of-print titles, or brand-new collections compiled from the Warner Music vault.

In honor of Black Music Month this year, Run Out Groove is proud to offer two new and exciting releases that have been given the “special” ROG treatment. Curtis Mayfield’s classic debut album, Curtis, is ROG’s new pre-order title #1. Chicago-born Mayfield was one of the most influential musicians in soul and politically conscious African American music in the 60s. Curtis won a Grammy Legend Award in 1994, a Grammy Lifetime Achievement Award and is a double inductee in the Rock and Roll Hall of Fame.

This expanded and limited edition of Curtis features a second LP of bonus tracks making their debut on vinyl and new liner notes by British DJ, soul expert and GM of Acid Jazz Records, Dean Rudland. The 2LP 180g set comes in a beautiful gatefold tip-on style jacket with an exclusive Curtis turntable mat, only available in this release.

Our second featured Black Music Month title is Charles Mingus At Carnegie Hall (Deluxe Edition). A bigger than life icon, Charles Mingus is considered one of the greatest jazz musicians and composers in history with a career spanning three decades and collaborations with other jazz legends such as Louis Armstrong, Duke Ellington, Charlie Parker, Dizzy Gillespie and Herbie Hancock.

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Graded on a Curve: Donovan,

Celebrating Donovan on his 75th birthday.Ed.

Where have all the flower children gone? And more importantly, where would they have been without Donovan Phillips Leitch? Stuck eating their FLT (flower, lettuce, and tomato) sandwiches to the sound of Scott McKenzie’s faux Flower Power ode, “San Francisco (Be Sure to Wear Some Flowers in Your Hair),” that’s where. It was Donovan who best channeled the gentle and peace-loving vibes of the love-bead set into song, and without the fey Scot they’d have been, to quote one of the man’s lyrics, “as dragged as any hippie should be in old hippie town.”

Donovan began his career as a folkie and Dylan clone, right down to Bobby D.’s trademark corduroy cap. Donovan’s blatant aping of his hero reached its absurd culmination at the infamous Dylan/Donovan confab at London’s Savoy Hotel in 1965, when Donovan proudly offered to play his idol a brand new song. Which turned out, much to Dylan’s amusement, to be a note-for-note rip of “Mr. Tambourine Man.” Small wonder Donovan serves as a running joke amongst the caustic Dylan entourage in D.A. Pennebaker’s 1967 documentary “Don’t Look Back,” with Dylan himself at one point saying, “Donovan who?”

Donovan might have gone the way of Phil Ochs, but in 1966 he went from Dylan manqué to Sunshine Superman after dropping acid and tapping into the Universal Mind to watch groovy Technicolor mind movies of a smiling God grokking the ineffable infinite. The turned-on Donovan promptly helped pioneer the psychedelic sound, which in tandem with his gentle-to-the-point-of-wimpy voice (think Belle and Sebastian’s Stewart Murdoch, twee factor multiplied by 10) and mellow yellow emanations quickly made him the perfect avatar for the Age of Aquarius. A string of U.S. Top Ten hits followed, including “Sunshine Superman,” “Mellow Yellow,” “Hurdy Gurdy Man,” and “Atlantis,” which started life as a b-side but reached No. 7 after DJs flipped the 45 and flipped their lids to the far-freaking-out Atlantean sing-along. (Surprisingly, the great “Season of the Witch” was never released as a single, either in the United States or the United Kingdom.)

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