The TVD Storefront

Graded on a Curve:
My Bloody Valentine, Loveless

My Bloody Valentine’s famously obsessed frontman spent 3 long years and a whole shitload of other peoples’ money making this 1991 shoegaze classic, and he didn’t deliver a follow-up until 2013. Seems Kevin Shields found Kevin Shields a tough act to follow. As for the guy whose money he spent (Creation Records honcho Alan McGee), his verdict on the record is on the record. In 2014 he said, “Loveless is fucking overrated as fuck.”

Well I humbly fucking disagree. While there are brief moments on Loveless when my attention wanders, My Bloody Valentine’s “sheets of tampered guitar noise meet dreamy melodies and hushed vocals” recipe is a winning one. The songs contained therein are simultaneously abrasive and deliciously mesmerizing–Loveless is as hypnotic a drug as nembutal, but it won’t put you too sleep.

The formula’s simple–Shields utilizes a whole mess of tricks (reverse reverb, tremolo techniques, tuning systems, samplers, etc.) to create oceanic swells and tidal washes of guitar that he harnesses to beguiling melodies over which he and Bilinda Butcher sing like sedated angels. Every single review I’ve ever read has described the guitars on this record as “swirling,” but that’s not what I hear. I hear churning–the churning of raw distortion into creamy dream pop butter.

Both mood and volume vary–for some reason “Only Shallow” and “What You Want” are twice as loud as anything else on the LP–but for the most part what you get are a set of songs that sound, well, like some mad genius fucked with them in the studio until they sounded wrong–wrong in such a way that obliges you, dear listener, to grow an entirely new set of ears in order to hear them right. And you do. After a while the brain-melting seesaw guitars and slushy and pureed vocals not only begin to make sense but to sound inevitable–as inevitable as any great forward leap in music, or any of the arts for that matter.

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The TVD Storefront

TVD Premiere:
Eli Greenhoe,
“Katie’s Song”

Sounding like a suburban version of Dylan’s “Visions of Johanna,” Eli Greenhoe’s “Katie’s Song” indirectly exposes the object of his affection by concentrating on the oddball details surrounding her. It’s a kind of free-associative rhapsody that allows the listener to glean a deeper insight than a standard love song might denote.

Although this is Greenhoe’s debut as a songwriter, the songs that comprise his forthcoming full-length, That Time When It Rained, have been in his mind and performed in some or fashion since his days studying music at LaGuardia High School.

Greenhoe would go on to focus his attention into the classical composition world, but never lost his affinity for music in the folk tradition, which he revisits with such panache here.

Eli Greenhoe’s new album, That Time When It Rained arrives in stores on May 10th.

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The TVD Storefront

Graded on a Curve: Marvin Gaye,
Volume One 1961–1965

Marvin Gaye is rightly evaluated as a crucial chapter in the story of Motown, but the relationship’s peaks weren’t immediate. Marvin had his goals while Barry Gordy and company had theirs, and across his first batch of releases the results only fitfully align with the vocalist’s popular image. The seven 180gm LPs contained in USM’s Marvin Gaye Volume One: 1961-1965 are still very much of interest however, offering a portrait of the soon to be great artist as a confident young man profoundly concerned with classicist pop objectives.

A recurring theme in the history of 20th century Pop finds record labels big small and in between striving purely in the name of profits to mold and modify a developing talent into a contemporary setting. In the process these actions frequently limited, damaged, or even downright quashed creative promise. In such instances the label’s miscalculations were reliably due to the reactive nature of the whole endeavor, the attempts seeking to capitalize on trends in place of shaping organic wrinkles in musical progress.

The seven albums included here complicate the above scenario considerably, detailing Motown as determined to travel a fertile trail as the young and undeniably skilled Gaye sought not to set trends but instead to examine a Pop/Jazz zone a la Nat King Cole and Frank Sinatra just as this tradition was on the wane.

Rather trying to strong-arm him into a mode he didn’t wish to inhabit, Motown displayed a tremendous amount of patience with the singer’s ambitions, though this might not be as commendable as it sounds; Gaye was fully capable of pulling-off (if not truly excelling at) the crooner role, making commercial success in this capacity a possibility. Had that transpired, Motown surely would’ve primed the pump until it gushed. On the other hand, none of the non-R&B focused LPs assembled in 1961-1965 charted, and Motown was unambiguously in the business of hits.

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A morning mix of news for the vinyl inclined

In rotation: 4/17/19

Northampton, UK | Queues stretch along Gold Street as Northampton shops join annual Record Store Day: Vinyl enthusiasts queued overnight outside Northampton record shops at the weekend to be among the first to buy some of the limited releases which were part of this year’s Record Store Day. By the time Spun Out in Gold Street opened its doors at 8am on Saturday morning, more than 100 collectors were queuing outside – with the first having arrived at 8.30pm the day before. Among those in the queue were Record Store Day regulars Mark Sarll and Chris Gedge who had both spent all night outside of the shop. Mr Gedge, was queueing outside Spun Out from 11.30pm on the Friday night. He said: “I was third in the queue. I dropped my dog off at friends in Northampton for the weekend and went direct to Spun Out.”

Dublin, IE | Bob Dylan surprises staff at Dublin record shop: Bob Dylan has sent the signed copy of his 1997 album Time Out Of Mind to a Dublin branch of Tower Records. The store, based on Dawson St in the city, received the unexpected gift just ahead of Record Store Day, reports RTE, the Irish broadcaster. The album arrived on Friday, April 12 and was signed, “To Tower Records Dublin, thanks for still selling records! – Bob Dylan.” Dylan is currently on tour in Europe. He is scheduled to play two shows at Vienna‘s Konzerthaus on April 16 and 17, then on through Austria, Germany, Switzerland, Spain, Portugal, Norway, Finland, Sweden and Denmark before he co-headlines with Neil Young at London’s Hyde Park on July 12 and Kilkenny’s Nowlan Park on July 14.

Belfast, IE | Rebirth of vinyl sees new record store give it a spin in heart of Belfast: A new independent record shop has opened close to the Primark site in Belfast, offering a boost to city centre retail. Experienced music promoter Darren Smyth is one of the figures behind Strange Victory Records, with Jeff Doherty, owner of used vinyl speciality store Dragon Records on Wellington Place, also involved. Today’s official opening of the 22 Berry Street store coincides with Record Store Day, the now annual celebration of independent record shop culture. The new store is the latest boost for retail trade around the Primark cordon following the reopening of Zara’s only local outlet last week. Darren, who has helped bring over 400 bands and musicians to Belfast over the last 18 years, said he felt there was a gaping hole in the market for an independently owned outlet to buy new vinyl. “Outside of HMV there is nowhere to buy new vinyl in what is supposedly a capital city. We’re the only city I can think of in Europe I think that doesn’t have at least one,” he said.

New York, NY | Roy Ayers, Method Man & Redman & More To Play Crate Diggers NYC Music and Record Festival: Presented by Discogs, the “largest vinyl collector’s festival series on earth” is coming to the Bronx on July 27. Crate Diggers NYC, presented by renowned music database Discogs, and in association with Japanese audio company Audio-Technica, has announced the official music lineup for its New York City festival on July 27 at the New York Expo Center in the Bronx. Funk icon Roy Ayers will headline the fest, with support from by Method Man & Redman, Rudimental, Smif-N-Wessun, Black Moon, Mad Skillz, Jurrasic 5’s Soup Presents: The Fullee Love Collective, and more. Entrance to the record fair is free to attend all day, and tickets for the fest cost $30 and go on sale Friday, April 12 at 10:00 am EST. Crate Diggers NYC welcomes record sellers from around the region, as well as rare-finds and freshly pressed vinyl collectors looking to add to their stock.

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TVD Washington, DC

TVD Live: Robyn Hitchcock at the Barns
at Wolf Trap, 4/11

Age is only helping Robyn Hitchcock settle into his role as wizened surrealist singer and mystic storyteller.

More than 45 years after starting his first band, the founder of the Soft Boys who went on to fronting the Egyptians and a long, accomplished solo career is a unique troubadour—a singer who can create a splendid musical reverie of abject strangeness and splendid ’60s chords while freestyling fantastical spoken word tales between songs as he tuned.

In a nicely balanced show last week among the wonderfully rough-hewn beams of The Barns at Wolf Trap in rural Virginia, Hitchcock, 66, played guitar and sang, blew some harmonica, and began a second set at a Steinway piano. His tousled hair now white, he also divided his attire between a seasonally-attuned flowered shirt with birds on it and another that portended the coming summer, with a popsicle pattern.

Songs fluctuated from nifty obscurities to former MTV staples, with crowd-pleasers like “Balloon Man” and “Madonna of the Wasps” amid things like the opening “Man with a Woman’s Shadow,” and more recent “Light Blue Afternoon.”

The selection from his latest self-titled album is his closest stab at straight-ahead country, “I Pray When I’m Drunk,” though it sounded less so live. He had a new single he was selling too, so he sang the pleasing “Sunday Never Comes.”

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The TVD Storefront

TVD Radar: Buzzcocks,
A Different Kind Of Tension and Singles Going Steady vinyl reissues in stores 6/14

VIA PRESS RELEASE | As part of their continuing reissue campaign, Domino are very proud to announce details of the release of Buzzcocks albums A Different Kind Of Tension and Singles Going Steady, which are out on Friday June 14th, 2019.

They follow the 40th anniversary re-issues of Another Music In A Different Kitchen and Love Bites in January of this year, and the re-release of the band’s debut EP, “Spiral Scratch,” and a 1976 collection of demos, Time’s Up, in March 2018. As previously, both albums have been lovingly restored and re-mastered from the original ¼” tapes for the first time and come packaged with lavish booklets containing unseen images and extensive liner notes by famed cultural commentators Jon Savage (A Different Kind Of Tension) and Clinton Heylin (Singles Going Steady).

Faithful to their original tracklistings, the re-issues see the albums released on vinyl for the first time in many years, available on deluxe 180g vinyl and CD. Their third studio album, A Different Kind Of Tension, was recorded at Eden Studio in West London in the summer of 1979 with producer Martin Rushent, who had worked on their previous two albums.

Their last studio album to feature the line-up of Pete Shelley (vocals / guitar), Steve Diggle (guitar / vocals), Steve Garvey (bass), and John Maher (drums), it was released in September 1979 and featured a distinctive cover by Malcolm Garrett who had provided the artwork for both Another Music In A Different Kitchen and Love Bites.

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The TVD Storefront

Dan Lyons,
The TVD First Date

“Records… where to start? My Dad’s collection was on a shelf which ran the length of the living room in the house I grew up in. I have very early memories of flicking through them having absolutely no idea what they were. On the covers were all these incredible looking people, bright colours and weird drawings. They seemed to belong to a different world…”

“On my 16th birthday he left Marquee Moon and Psycho Killer in my room. I went downstairs, put them on the stereo, sat there in front of the speakers and it changed my life.

I’m hyper sensitive, I get goosebumps quite easily, and there’s something about the actual sound of the music that comes from a vinyl record that is closer, clearer, and more personal than any other format. Hearing the intro to “Elevation” on Marquee Moon and then Tom Verlaine’s voice piercing through that warm fuzz of the needle on plastic had my hairs standing on end.

I remember holding the first album I played on. A box of them had been delivered to a gig in London, and we were each given a copy by the label. In the physical pressing of a record onto plastic you transform performances and emotions, words and feelings, into a tangible object that can be held, touched and seen. I think this process is magical, there’s such permanence to it. Once it’s on there, it’s not coming off.

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TVD UK

UK Artist of the Week: HYYTS

Today we are treating you to some progressive pop all the way from Glasgow. Emerging alt-pop duo HYYTS recently shared their ambient new single “Car Crash Carnivore” and boy, is it impressive.

Inspired by the likes of Scissor Sisters and even Ariana Grande, HYYTS—aka Adam and Sam—really are serving up something special. “Car Crash Carnival” takes the listener on a wonderful journey, as the song’s intricate electronic soundscapes are able to soar effortlessly.

Adam’s remarkable falsetto is at the forefront, oozing confidence and power throughout. The band even appear to have created their own genre; “skip-hop” (that’s Scottish hip-hop to you and me) and we’ve gotta admit, its pretty decent.

Having just embarked on a mini UK tour, we sure are hoping these guys make their way across the pond in the near future. For the skip-hop introduction if not anything else! If you’re a fan of Jungle and MNEK then you should definitely give this a go.

“Car Crash Carnivore” is in stores now.

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The TVD Storefront

Graded on a Curve: A Crate Digger’s Collection of Rare Soul

There has been no shortage of single and various artist Soul anthologizes over the years, but most came encoded on compact disc and ranged in worth from outstanding to moderate to shoddy. Vinyl sets became few and far between, but recently that circumstance has begun to change. Behold A Crate Diggers’ Collection of Rare Soul, a compilation of three 180gm LPs assembled by Rhino Custom in an edition of 1,000 copies and currently available only through Popmarket.

The purported scarcity of the originals corralled here, everything initially issued on 45s from ’64-’75 either by Atlantic and its subsidiaries Atco and Cotillion or Warner Brothers and its sub-label Loma, offers a fine angle of presentation. However, the secret to any various-artist comp, and especially one devoted to a genre so deeply tied to the emotional, is not rarity but listenablity, though the opportunity to hear these selections on vinyl is an unequivocal plus.

A Crate Diggers’ Collection of Rare Soul smartly drafts a smattering of ringers and immediately taps into a cornerstone of the style. Otis Redding’s “Hard to Handle” was issued posthumously by Atco in ’68 both as a single and on The Immortal Otis Redding. Oft covered and sampled as it features the confidence, precision, and verve of Otis, Booker T & the MGs, and the Memphis Horns, there’s simply no substitute for the original.

Another stone beast is ’66’s deep and slow groover “You Put Something on Me” by Don Covay & the Goodtimers. A somewhat slept-on soul figure both at the time and hence, akin to the majority of the artists on this set Covay was recorded by Atlantic, but like “Sookie Sookie” before and “Somebody’s Got to Love You” after it, “You Put Something on Me” failed to chart, which is difficult to fathom since it pairs with “Hard to Handle” as the best track on this set’s first side.

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A morning mix of news for the vinyl inclined

In rotation: 4/16/19

Newnan, GA | Vinylyte participates in Record Store Day: If the Mastodon doesn’t get you, the Gorillaz might. Saturday is Record Store Day, and Vinylyte Records will join thousands of other independent, brick-and-mortar stores around the world to celebrate. Vinylyte is opening its doors at 8 a.m. to give music lovers a chance to grab exclusive releases specifically designed to commemorate the event. Created in 2008 to celebrate the culture of the independently owned record store, Record Store Day is supported by a wide range of artists who contribute unique recordings each year. Those pressings are only distributed to shops participating in the event. It’s a day that brings together fans of all genres, because it’s all about the music. Places like Vinylyte are “a musical Mr. Rogers’ Neighborhood,” says store owner Jesse Yates. “Record Store Day celebrates the relationship between people, their community record store and music,” he said.

Niagara, ON | Record Store Day draws customers looking for special releases and rare gems: A day that rocks for vinyl lovers. Music lovers and vinyl fans had their day on Saturday. Record Store Day, created to help local independent record stores, was first held on April 19, 2008. The day is now celebrated on every continent except Antarctica. “Busiest day of the year for sure,” said Chris Charowy, owner of Mind Bomb Records on James Street in St. Catharines. For the occasion, many artists unveil previously unreleased material, new remixes and box sets to entice people into their local record store. This year the big sellers included soundtracks for “The Crow” and “Lost In Translation,” Bob Dylan’s “Blood on the Highway” and select Woodstock performances, which were released in honour of the festival’s 50th anniversary. “There’s literally hundreds of releases that come out for record store day, so it’s on the owner of the shop to bring in what they think is going to sell. Everything is in limited quantities so I can order 10 copies of something and get one…”

Ithaca, NY | Ithaca’s Angry Mom Records Celebrates Record Store Day: Conceived in 2007 at a gathering of more than a thousand independent record store owners across the globe, Record Store Day is held on one Saturday every April and every Black Friday in November to commemorate the unique culture of independently owned record stores and their importance within a community. Record Store Day has had a far-reaching impact on the reinvention of independent music in the streaming age. The event puts great emphasis on the role of the independent record store as a gathering space for music enthusiasts to interact. And the intimate connections fostered by such interactions are crucial in the formation of a local music scene…For Ithaca, Angry Mom Records serves as the backbone of the local underground music scene. Located in the basement of Autumn Leaves Used Books on the Commons, it is a safe haven for opinions and artistry to interflow.

Cumbria, UK | Music fans visit Barrow’s TnT records in their droves for Record Store Day 2019. More than a thousand people were said to have descended on a music shop for Record Store Day 2019. Music lovers queued up in their droves outside Barrow’s TnT Records hoping to snag limited edition vinyl. The only record store in south Cumbria, it was among hundreds in the UK to take part in the worldwide celebration of independent music shops. More than 500 special vinyl were released for the day, exclusively available in record shops. To celebrate the occasion, the Duke Street shop laid on a host of local bands to entertain the crowds, while budding musicians experienced drum lessons on the shop’s upper floor. Owner Dave Turner said: “The way people have supported us today is absolutely overwhelming.

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TVD UK

TVD Live Shots: Pop
Will Eat Itself and
Ned’s Atomic Dustbin
at Shepherd’s Bush Empire 4/6

When Nine Inch Nails were at their peak in the US, their label Interscope records gave frontman Trent Reznor his own label imprint called Nothing Records. One of its early signings was picking up UK electro pioneers Pop Will Eat Itself from a fallout with their North American label BMG. The result is one of the best and most undercelebrated albums of the ’90s, Dos Dedos Mis Amigos.

While it was a departure from the band’s earlier sound, it didn’t matter to me as this was my introduction to the group. I bought this thing on cassette and played it pretty much nonstop through the Brit Pop invasion of the mid ’90s and could not believe my eyes when I saw that the band would be touring the UK this year. The two singles from the record, “Ich Bin Ein Auslander” and “R.S.V.P.” were absolutely brilliant songs and should have elevated the band to immediate superstardom in the States. Instead, they enjoyed moderate success without ever truly breaking out.

The “Love from Stourbridge” tour brings together Pop Will Eat Itself and Ned’s Atomic Dustbin, two of Stourbridge’s biggest musical exports, touring together for the first time since 1989. For PWEI they are celebrating the 30th anniversary of their classic 1989 album This Is the Day…This Is the Hour…This Is This!. To celebrate the milestone, the band is playing the record in full along with a selection of other tracks.

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The TVD Storefront

TVD Radar: Buck Owens & the Buckaroos, The Complete Capitol Singles, 1971–1975 along with original Owens owned LPs available 5/31

VIA PRESS RELEASE | Omnivore Recordings, in conjunction with the Buck Owens Estate, will release Buck Owens and the Buckaroos’ The Complete Capitol Singles: 1971–1975 on May 31, 2019, available on CD and Digital.

The set is the third and final volume in a series chronicling every one of Buck’s historic Capitol Records singles from the ’50s, ’60s, and ’70s. Taken from the original stereo masters, The Complete Capitol Singles: 1971–1975 collects the A- and B-side to all 21 singles from that period, including nine Top Ten hits, in their original, chronological form. Newly remastered, and featuring liner notes from author and Bakersfield country historian Scott B. Bomar, The Complete Capitol Singles: 1971–1975 presents the golden age of Buck Owens in an entirely new way.

“One of the good things that happened in 1970 was that I finally had my studio up and running in Bakersfield,” said Owens of that period. “If I was in the mood to record, I’d just call the guys and tell ’em when to be there. I didn’t have to deal with having to find out when Capitol’s studio would be available anymore, or go to the trouble of driving down to L.A. every time we were going to record, or knowing that every minute I was recording at Capitol it was costing me money. It was still costing me money to record at my own studio, of course, but at least I wasn’t billing myself at an hourly rate that would be charged against my record royalties like Capitol had done to me all those years.”

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The TVD Storefront

Demand it on Vinyl: TOTO, All In boxset in stores 5/24

VIA PRESS RELEASE | TOTO is pleased to announce the release of their definitive CD box set: All In via Legacy Recordings (a division of Sony Music) on May 24th. In late 2018, a deluxe limited-edition vinyl/CD version of the set was released direct to consumers and quickly sold out (this is now out of print and will not be reprinted). However, due to demand, a CD only box-set will available from all major retailers worldwide.

All In features the following TOTO albums on thirteen CD’s: Toto, Hydra, Turn Back, IV, Isolation, Fahrenheit, The Seventh One, Kingdom Of Desire, Tambu, Mindfields, and Toto XX. The set also includes a previously unreleased “Live In Tokyo” EP from their 1980 tour, along with an album titled Old Is New. The Old Is New CD features ten tracks, seven which are previously unreleased along with “Spanish Sea,” “Alone,” and “Struck By Lighting” which are featured on the band’s greatest hits collection 40 Trips Around The Sun. All of the music in the box set was personally remastered by TOTO along with Elliot Scheiner. Also included in the box set is a 24-page booklet which includes new essays and previously unseen photos.

TOTO’s Greatest Hits package titled 40 Trips Around The Sun was released in early 2018 and impacted charts all over the world. The band recently completed another set of tour dates in New Zealand, Australia, and Japan. European shows are already scheduled for this summer along with an upcoming North American tour in the fall (Sept/Oct). Full details on the North American tour will be announced shortly. The 40 Trips Around The Sun tour has been the band’s most extensive run in years.

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The TVD Storefront

Rich Layton
& Tough Town,
The TVD First Date

“File under ‘Everything Old is New Again.’”

“Fifty years ago, my parents’ generation had its own version of Spotify: the mail order record club. Once a month, five new LPs arrived in the mail and headed straight for the record player built into the top of the Zenith TV. That was the plus side. The minus side—none of them were rock and roll. Still, it warmed my heart to hear my dad singing along with all those albums by Sinatra, Nat “King” Cole, and Tony Bennett. Those were his happiest moments in a young life heavily weighted with family responsibilities and an ever-increasing tab at the neighborhood tavern.

The only way to change the music selection was to start making my own money, cobble together speakers, an amp and a turntable from a pile of gear in an uncle’s basement, and ride the bus to the record shop after school. My first single was The Beatles’ “Paperback Writer” (B-side, “Rain”), which may still be in a box around here somewhere. Ultimately, I bought only a handful of singles. In order to make those lawn-mowing dollars stretch, I opted for albums, and like my dad, was happiest when I was singing along with records in my room.

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The TVD Storefront

Graded on a Curve:
Mike + The Mechanics, Living Years

I suppose you’re asking yourself why I’m wasting my valuable time writing about Mike + The Mechanics, and more importantly, why you should waste your valuable time reading about them. But before I get around to answering that question, I must ask another question: Would you really let this so-called supergroup of English wheelnut monkeys anywhere near your car?

Oh, and I can only answer the first question (this is getting confusing, I know) by asking yet another question. To wit, what exactly was it that made this vapid Genesis offshoot’s 1988 debut LP Living Years such a smashing commercial success? Did living breathing human beings really hanker for music that was even blander and more faceless than the bland and faceless “product” Phil Collins’ Genesis was supersaturating the airwaves with? Is it possible they found the likes of Duke and Abacab too musically challenging?

It’s a demoralizing thought. The generic pablum produced by Mike + The Mechanics–who were led by Genesis guitarist Mike Rutherford and included two vocalists named Paul (Carrack and Young, respectively)–is a lot of things, but idiosyncratic ain’t one of ‘em. These guys aren’t your colorful auto jockeys down the street, who crank Motörhead in the garage and drink beer during work hours. They’re a chain, like Midas, and their songs are antiseptic outlets that all look exactly the same. Just look for the big yellow sign!

The music on Living Years is (to switch metaphors on ya) white bread and margarine, flavorless fare incapable even of inducing heartburn. If music (here I go again!) is a drug, Living Years is a placebo–in single-blind clinical trials almost 70 percent of participants thought they were listening to real music!

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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