Category Archives: The TVD Storefront

TVD Radar: The Haunting Of Hill House OST vinyl in stores now

VIA PRESS RELEASE | Waxwork Records is proud to present The Haunting Of Hill House Music From The Netflix Horror Series By The Newton Brothers. Originally a 1959 gothic horror novel written by American author Shirley Jackson, The Haunting Of Hill House is a multi-episode Netflix horror series directed by Mike Flanagan (Hush, Gerald’s Game) and starring Carla Gugino (Sin City, Wayward Pines) and Henry Thomas (E.T. The Extra-Terrestrial).

The plot centers around The Crain family which consists of a mother, father, and five children who temporarily move into the Hill House mansion in 1992. The intention is to renovate the sprawling home and then sell it for a profit in effort to build their very own dream house. Soon after moving into Hill House, they begin to experience increasing paranormal activity that results in a tragic loss and the family fleeing from the house. 26 years later, the Crain siblings and their estranged father reunite after a new tragedy, and they are all forced to confront how their time in Hill House affected each of them.

The series has received massive critical acclaim and praise. Author Stephen King described the series as “close to a work of genius.” The Telegraph calls it “the most complex and complete horror series of its time.” Forbes stated that “it may actually be Netflix’s best original show, ever.” RogerEbert.com gave unanimous praise calling it “essential viewing” and stated that “the show contains some of the most unforgettable horror imagery in film or television in years.”

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Graded on a Curve:
Def Leppard,
Hysteria

Hello music fans! You’re joining me here live from lovely Pyongyang, North Korea, where I’m about to sit down with Supreme Leader Kim Jong-Un, who is about to make a big musical announcement!

And here comes Kim now, ready to verbally spar in a glittering WWE wrestling jacket and tights, a baby tiger cradled in his arms! What chubby charisma! What a dazzling smile! It’s hard to believe this is the same guy who had a mid-sized city executed for sneezing during one of his 5-1/2-hour speeches!

A palace lackey seats us in two very uncomfortable solid-gold chairs, another palace lackey brings Kim his jade bong and baggy filled with primo Godfather OG, and after we both take a couple of hits and I get very, very paranoid, it’s time to get down to the nitty-gritty.

You don’t plan to have me killed, do you?

Ha, ha. Never. You are my favorite Western Rock Critic. Your extremely positive review of Christopher Cross echoed many of my own insights on the genius who brought us “Sailing.” We Christopher Cross fans must stick together.

So what’s the big announcement?

For many years I have banned Western Music. It is decadent, serves no propaganda purpose, and makes people dance. North Korea is like the town of Bomont, and I will not put up with any Kevin Bacon-like footlooseness. Such counter-revolutionary hijinks could undermine my very cool Cult of Personality.

That said, I have given my personal okay to certain types of Western Music over the years. My all-female military ensemble The Morenbong Band has been known to play the theme from my favorite movie Rocky, for example. I cannot watch Sylvester Stallone triumph against adversity without crying, and then killing anyone who has witnessed me crying. I’ve tragically lost many beloved family members in this manner.

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Graded on a Curve:
Les Paul and His Trio, After You’ve Gone, Dave Brubeck, Time In, Hank Jones, Arigato, Shirley Horn, Softly

If you’re in the market for jazz reissues on wax, ORG Music is a consistent resource, and the pickings are especially ripe right now, as they have a stylistically varied batch of material fresh out spanning the 1940s to the ’80s, specifically After You’ve Gone from Les Paul and His Trio, Time In from Dave Brubeck, Arigato from Hank Jones, and Softly from Shirley Horn. Listeners wanting to stretch out beyond the canonical rudiments will find much to love here, for the sounds are more than satisfactory, but novice ears shouldn’t feel intimidated, as the contents are highly approachable all around. The Jones is available now, the Brubeck is out November 2, and the Paul and Horn arrive the following Friday.

It’s nice that the folks at ORG are fortifying the jazz racks with material beyond the must-haves from the Blue Note, Prestige, Impulse, and Atlantic labels, although a glance at the noteworthy artists included in the roundup could lead to the conclusion that they aren’t digging all that deep. Take Les Paul, for instance; a read of the guy’s biography shapes him up as a recording industry giant, with a dominant early ’50s pop chart run in tandem with his wife, the vocalist Mary Ford, and an enduring rep as a guitar builder, studio innovator and a technical master on his instrument.

He’s also known for diversity of genre. Amongst his early credits, he backed blues singer Georgie White, recorded C&W as Rhubarb Red, and dished out Hawaiian songs, so his aptitude for jazz, while no secret, often doesn’t get the spotlight it deserves. To an extent this scenario is similar to that of Nat King Cole, whose stature as a pop singer continues to overshadow his killer ’40s piano trio; underlining this comparison is Paul’s early career highlight subbing for Oscar Moore with Cole and others as part of the inaugural Jazz at the Philharmonic concert.

That show went down on July 2, 1944 in Los Angeles, and the sessions for After You’ve Gone were made for the World Broadcasting Company across September, October, and December of the same year and into January and February of ’45. Like Cole’s group, Paul’s eschewed a drummer, instead featuring Clinton Nordquist on bass, Cal Goodin on rhythm guitar, and either Milt Raskin or Buddy Cole on piano; unlike Cole’s group, Paul’s was a trio plus one.

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TVD Radar: Night of the Living Dead OST vinyl in stores 10/31

VIA PRESS RELEASE | Waxwork Records is honored to present the 50th Anniversary Edition release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, Night Of The Living Dead.

Written, filmed, and released in 1968 by a rag-tag group of Pittsburgh based misfits, Night Of The Living Dead is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant.”

Filmed and released on a shoestring budget, Night Of The Living Dead became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero.

As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable—our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.

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TVD Radar: The Police, Every Move You Make: The Studio Recordings half-speed mastered 6LP set in stores 11/16

VIA PRESS RELEASE | Every Move You Make: The Studio Recordings (Polydor/UMG) is a six vinyl LP box set which brings together The Police’s entire recorded studio albums, as well as a 12-track sixth disc entitled Flexible Strategies which contains exclusive bonus material of non-album recordings and B-sides.

Re-mastered and cut onto 180-gram heavyweight vinyl at Abbey Road Studios by Miles Showell, the world’s leading exponent of half-speed mastering, this limited-edition set celebrates the 40th anniversary of the multi-million selling band’s first album, Outlandos d’Amour. It also contains a special 24 page, 12”x12” photo book featuring rare and unseen images from the band’s personal archives housed in deluxe packaging of a hardcover box with lift-off lid. The Police’s studio albums include – Outlandos d’Amour (1978), Reggatta de Blanc (1979), Zenyatta Mondatta (1980), Ghost in the Machine (1981) and Synchronicity (1983).

Formed in 1977, The Police are composed of Sting, Stewart Copeland, and Andy Summers. During their existence their contribution to the lexicon of rock was immense. The originality of their music fused elements from both punk and reggae to form a brilliant new style that can only be described as Music of the Police. They exist within their own genre. Having sold in excess of 50 million albums worldwide, The Police had phenomenal chart success and earned a multitude of accolades both public and critical, but they never allowed such peripherals to overshadow their commitment to the music itself. This collection features 14 U.K. and 18 U.S. Top 20 singles, including five U.K. and four U.S. single number ones, and four U.K. number one albums and a number one U.S. album.

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Granville Automatic,
The TVD First Date

“My first vinyl was The Chilling, Thrilling Sounds of Disney’s Haunted House. I was obsessed almost more with the cover art—it was blue and black and creepy and absolutely fascinating.”

“It may explain my early years as a goth devotee—I heard bits of that very first vinyl in Danzig and The Damned and The Church, and even in Morrissey, Depeche Mode, Erasure, Curve, and Concrete Blonde. I got into those bands a bit backwards, as a radio DJ for Jacksonville State University’s WLJS just as Nirvana exploded into the mainstream.

Those sounds still shape everything I do as a songwriter. Though I grew up surrounded by my dad’s folk records (Dylan, Joni Mitchell, Joan Baez, Judy Collins were commonly spinning), once I found rock and roll I moved quickly in that direction, playing all kinds of obscure college bands from a tiny Alabama DJ booth.

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Graded on a Curve: KoenjiHyakkei, Dhorimviskha

KoenjiHyakkei (sometimes Koenji Hyakkei) is one of many bands helmed by Japanese drummer-singer-composer Tatsuya Yoshida, and after a break of 13 years the outfit has returned with Dhorimviskha. The recording’s been out on CD and digital since August (a little earlier in Japan, even) but after a successful Kickstarter the 2LP arrives in a gatefold jacket November 2 through Skin Graft. If the prospect of progressive/ symphonic/ math-rocky complexity, avant-jazzy horns, and operatic vocals delivered with the density and intensity of good hardcore, and all meticulously assembled, gives you a sweet shiver of a thrill, well then step right up to this one.

Here are a few recurring bits of faulty wisdom regarding ‘70s popular music: disco was a fad (that by extension, sucked), jazz fusion was stylistic dead-end that all but killed America’s greatest artform, soft-rock was craven milquetoast commercialism, and a double whammy, that punk rock was essentially a dead-end instigated by a bunch of young cretins who couldn’t play their instruments, and yet was a cul-de-sac that was wholly necessary in order to save the world from all of the above, but most crucially, the pompous and intellectually fraudulent ambitions spewed forth by the prog rock brigade.

Sure, crummy prog can be considerably harder to handle than the lousiness of your standard rudimentary garage band, particularly if you subscribe to the belief that the former is a betrayal of rock’s ethos and the latter just well-intentioned error, but progressive rock is ultimately only worse than the dregs of any other genre if you choose to focus your attention exclusively on the form’s rottenest practitioners (this logic pertains to any genre, actually). I admittedly held a somewhat different viewpoint 30 years ago, but with time and experience comes enlightenment.

Prog rock doth endure however, and a cool twist is how a fair amount of the form’s underground units (old and new) can be appealingly weird. Unsurprisingly, some of the weirdest come from Japan, and that a list of them would include the numerous activities of Tatsuya Yoshida is assured; the only question is how to rank them.

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TVD Radar: Drag Me To Hell OST deluxe 2LP set in stores now

VIA PRESS RELEASE | Waxwork Records is proud to present the Original Motion Picture Score to Drag Me To Hell. Directed by Sam Raimi (Evil Dead trilogy, Darkman), Drag Me To Hell tells the story of a banker with a seemingly good life, a supportive boyfriend, and a bright future. She makes a sinful choice for her own betterment, and as a result, is cursed by a gypsy and haunted by an ancient demonic force that will stop at nothing to drag her to the depths of Hell. The film became a box office success and has amassed many accolades and awards due in part to its originality and fantastic screenplay by Sam and Ivan Raimi.

The film score was composed and conducted by famed composer Christopher Young (Hellraiser, A Nightmare On Elm Street 2: Freddy’s Revenge). It was Young’s aim to create a sonic landscape of a world that didn’t exist. A supernatural setting featuring overdubbed, layered violins to emulate an evil, devil-like force manipulating the instrument. Horns, organ, child-like ethereal voices, and vintage keyboards round out the score to create a dark and intense experience.

Waxwork Records worked in collaboration with Lakeshore Records on the Drag Me To Hell vinyl album. This special release marks the very first time that the film music has been pressed to vinyl. Features include the complete score by Christopher Young, new art by Midnight Marauder, 180 Gram 2xLP “Hell-Fire” colored vinyl, composer liner notes, and old style tip-on gatefold jackets with satin coating.

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TVD Radar: Grateful Dead, Dick’s Picks Vol. 34, Rochester, NY 11/5/77, 6LP vinyl box set in stores 11/30

VIA PRESS RELEASE | If the saga of the Grateful Dead is a long strange trip, then Real Gone Music has definitely been along for part of the ride. First, Real Gone released the entire Dick’s Picks series of live concerts on CD, all 36 volumes of it, many of them never before available at retail. Then Real Gone began putting out the Road Trips series, none of which has ever been in stores before. Now the time has come for Real Gone to take the next step in their evolution as a key source for rare Grateful Dead recordings. Real Gone has crossed the vinyl frontier with Grateful Dead: Dick’s Picks Vol. 34 – Community War Memorial, Rochester, NY 11/5/77 out November 30 on hand-numbered limited edition 6-LP vinyl.

Grateful Dead: Dick’s Picks Vol. 34 – Community War Memorial, Rochester, NY 11/5/77 was recorded in 1977 with fiery performances of “Big River,” “Jack Straw,” “Deal,” and “Eyes of the World” powered by a particularly lively Phil Lesh. But for many the highlight will be one of the truly great performances of “The Other One” in the Grateful Dead catalog, 12 minutes of surging intensity and building crescendos. This Pick also included highlights from a 11/2/77 Toronto show, including a great medley of “Estimated Prophet”/”St. Stephen”/”Truckin’”/”Around and Around” (the track listing was reconfigured to put all bonus tracks at the end of the set).

For the release, Real Gone enlisted David Glasser at Airshow Mastering to remaster the set from the original tapes for vinyl. David’s had a long association with the Dead; he mastered the soundtrack to last year’s Long Strange Trip documentary. For lacquer cutting, Real Gone turned to John Golden at Golden Mastering. John has worked with artists as far-ranging as Jonathan Wilson, Sharon Jones & the Dap-Kings, and Soundgarden among others. The test pressings were approved by David Glasser, the Grateful Dead’s resident curator David Lemieux, and Gordon Anderson from Real Gone.

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Lauren Morrow,
The TVD First Date

“My very first vinyl records came from my mother.”

“I was in high school, and I flat out asked her if I could have her old records. They were in boxes in the garage, and I loved looking through them all—it felt like I was finding treasure. Not long after this, my grandma gave me her old record player (which I still have), and I started listening to Mom’s old vinyl in my bedroom.

She had close to 100 albums—anything from Lynyrd Skynyrd to Steely Dan to The Beatles and The Rolling Stones. I remember hearing the crack and pop on “Imagine” by John Lennon and wondering why I’d ever listened to CDs.

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Graded on a Curve: Public Image Ltd.,
The Flowers of Romance

Talk about your careering; John Lydon upset the rock ’n’ roll apple cart forever with the Sex Pistols, made a pioneering post-punk statement with Public Image Ltd.’s First Issue, and took existential dread to new heights with the dub-wise Metal Box, and I was with him all the way.

Ah, but then came 1981’s The Flowers of Romance, and it brought me up short. With bassist Jah Wobble gone Lydon said to hell with the dub experiments and doubled down on the percussion, and released one of the least listener friendly LPs you ever will hear. The Flowers of Romance’s severe, musique concrète-cluttered soundscapes are daring, no doubt about it–Lydon made no concessions or compromises whatsoever in pursuit of his musical vision, and this LP is as radical a statement in its way as Never Mind the Bollocks was in its.

The problem, at least for me, is that the LP is interesting in a way I don’t find very interesting, and challenging in a way I don’t find very rewarding. The devil’s in the details on such musical drags as “Phenagen,” “Track 8,” and “Hymie’s Him,” but picking them out isn’t much fun–I hate to use the word boring, but it’s the word that springs to mind.

Public Image Ltd. came up the loser when Jah Wobble left and Lydon decided to dispense with the bass altogether, and the proof is on the refreshingly propulsive “Banging the Door,” on which Keith Levene condescends to play the instrument. It alone packs the oomph of good rock ’n’ roll, and while it’s true that Lydon wasn’t out to make rock ’n’ roll music–probably thought it was dead and saw himself as a citizen of some brave new world trying to produce something new from the rubble–those of us who still detected signs of life in the beast can hardly be blamed for checking out.

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TVD Radar: Filter,
Short Bus vinyl reissue
in stores 11/2

VIA PRESS RELEASE | Craft Recordings has confirmed plans to re-release the debut album from influential industrial rock band Filter. The platinum-selling Short Bus will be reissued on two vinyl configurations: black vinyl (available widely), plus a limited-edition white vinyl edition available only to indie record stores (1,000 available). Both have been mastered by George Horn and Anne-Marie Suenram at Fantasy Studios and pressed at Memphis Record Pressing.

The e-album will also receive the deluxe treatment, with a digital version to be released featuring six bonus tracks composed of remixes and B-sides from the Short Bus era. Ben Grosse, who mixed Short Bus, also produced “Dose (Ben Grosse’s Morning After Mix),” and all remixes of “Hey Man Nice Shot” were produced by famed songwriters and producers the Dust Brothers, whose previous work includes the Beastie Boys’ Paul’s Boutique and Beck’s Odelay. These bonus tracks were featured on the original 1995 CD and vinyl singles.

In 1995, Filter emerged as one of industrial’s most vibrant, vivid, and vitriolic voices with the release of their debut, Short Bus. The record introduced the world to the immortal “Hey Man Nice Shot” and went platinum.

Richard Patrick (Filter vocals, guitar) had been working with Trent Reznor as a touring guitarist for Nine Inch Nails when he penned what would become Filter’s first single—the demo for which was recorded at Reznor’s home studio. Upon its release, Filter, Patrick and Brian Liesegang (co-producer and sound designer), gained immediate traction with the song. “Hey Man Nice Shot” was awarded MTV’s “Song of the Week” with a review proclaiming, “This is the most infectious piece of industrial rock since NIN’s ‘Closer.'”

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TVD Radar: Buzzcocks, Another Music In A Different Kitchen and Love Bites reissues in stores 1/25

VIA PRESS RELEASE | To mark the 40th anniversary of the original releases, Domino are very proud to announce details of the reissue of Buzzcocks seminal first two albums, Another Music In A Different Kitchen and Love Bites, on Friday, January 25th, 2019.

Both albums have been lovingly restored and re-mastered from the original ¼” tapes for the first time and come packaged in the original Malcolm Garrett designed sleeves with lavish 8-page booklets containing unseen images and extensive liner notes by famed writer, broadcaster, music journalist, and cultural commentator Jon Savage. Faithful to their original tracklistings, the reissues see the albums released on vinyl for the first time in many years and will be available on deluxe 180g vinyl and CD. The albums follow the Domino re-releases of their debut EP, “Spiral Scratch” and Time’s Up, a collection of demos, from 1976.

Famously taking their name from “It’s the buzz, cock,” a headline from a Time Out review of 1970s TV music drama Rock Follies, Buzzcocks formed in Bolton in 1976 by Pete Shelley and Howard Devoto, who have a strong claim to have kick-started a musical revolution in Manchester having organized and played at the now famous Sex Pistols show at Manchester’s Lesser Free Trade Hall in 1976—a show which inspired and spawned the likes of Joy Division, The Fall, and The Smiths.

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Deanna Devore,
The TVD First Date

“My fondest record store memory was at a place called Sam The Record Man.”

“It was a Canadian record store that, at one time, was Canada’s largest music recording retailer. They would have a Boxing Day Sale every year which became somewhat of a Toronto tradition. Probably around 500 people would stand outside the door in the morning to save 20% off all inventory.

I remember as a kid, looking forward to it every year. My dad and I would go and we would spend hours there. He would come home with so many different CDs and albums. Vinyl made everything feel cozy. He exposed me to a variety of music genres when I was young. From The Beatles, to Pat Metheny, to Brazilian music like bossanova. It was the Brazilian music that influenced my guitar playing as a kid. I started playing very rhythmically.

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Graded on a Curve:
Minor Threat,
Complete Discography

I’m straightedge! My Stay Clean t-shirt is straightedge! My cat won’t even touch catnip because he’s fucking straightedge! My kitchen table is straightedge! I don’t drink, smoke or shoot pool because I’m straightedge! I haven’t smiled in six years because I’m straightedge! I don’t laugh at jokes because I’m straightedge! And I’m totally pissed off at the wall and everything else because I’m straightedge! Come to think of it, I’m so fucking straightedge I can’t stand it! Do you think a beer might help?

Ah, but let’s be serious for a moment. Washington D.C.’s Minor Threat has always been a conundrum to me. Their patented brand of hardcore was the catchiest and most abrasive this side of early Black Flag, and by far the purest; Greg Ginn’s guitar lent Black Flag what can only be called an art rock touch, one that Ian MacKaye and Company had no use for whatsoever.

In short, when it came to the hardcore medium Minor Threat were the shit, and if you like hardcore as much as I do what could be the problem? The answer, of course, was the message: MacKaye famously used the band’s songs as platforms for his straightedge philosophy, and unless you’re a fan of the kinds of strident moralizing that made Cotton Mather such a well-spring of human warmth, Ian’s preaching was, well, off-putting. Especially if you enjoyed the sorts of extracurricular activities (drinking, smoking, fucking, smiling) that MacKaye seemed to find so reprehensible.

On such straightedge anthems as “Straightedge” and “Out of Step” Minor Threat took direct aim at people like me, and I couldn’t help but push back. It did not escape my notice that puritanism didn’t seem to make MacKaye very happy, and it certainly didn’t imbue him with a sense of humor–rage was his metier, and he unlike a lot of other angry young hardcore types he wasn’t about to leaven it with a welcome touch of levity. In short, he was a puritan, and being a puritan ain’t supposed to be fun.

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