A morning mix of news for the vinyl inclined

In rotation: 6/28/22

Miami, FL | Miami’s ATV Records announces closure: The beloved dance music venue, which acts as a club and record store, will remain open until July 31st. ATV Records is permanently closing after two and a half years of operations. The Miami venue, home to a record store, nightclub and bar, announced the news via Instagram late on Thursday, June 23rd. No official explanation for the decision was given, with the team noting that they came to agreement following a “long and careful assesment.” ATV (short for “addicted to vinyl”) will continue to host parties until July 31st, its last day of operation. The space, launched by former club Electric Pickle, opened its doors in late 2019. ATV’s intimate atmosphere and four-point analog sound system made it a favourite among local and touring artists such as Danny Daze, Jubilee, Mike Servito, Moxie and countless others.

US | Manufacturers Struggle to Keep Pace With Vinyl Record Demand: Demand for record albums continues to soar in the United States, and the manufacturing base is having to reinvent itself to meet demand. The arrival of the compact disc nearly killed off record albums, with vinyl pressing machines sold, scrapped and dismantled by major record labels. Four decades later, with resuscitated record album sales producing double-digit annual growth, manufacturers are rapidly rebuilding an industry to keep pace with sales that reached $1 billion last year. Dozens of record-pressing factories have been built to try to meet demand in North America—and it’s still not enough. The industry “has found a new gear, and is accelerating at a new pace,” said Mark Michaels, CEO and chairman of United Record Pressing, the nation’s largest record producer, in Nashville, Tennessee.

Tewksbury, UK | Music tastes may vary, but vinyl is forever: Spinning favorite LP’s for hours on end with the volume up just a bit too loud has long been a pastime for many teenagers. Vinyl records have been around since the early 1900’s, offering professional sound quality to the average consumer. Those of us who grew up during the prime of the vinyl LP, from the 1950’s through the late 1980’s, re­member spending endless hours at the local record store. Other than the ra­dio, a teen’s record collection was the only access to popular music and worth the investment of an entire week’s allow­ance. That is not to say that the vinyl record did not go without competition from other music mediums. In the early 1960’s, cassette tapes made their way into the music listening industry. The cassette pro­mised portability with the ease to rewind forwards or backwards. Unfortunately, cassettes also came with the problem of jamming in the cassette player, kinking or breaking the cassette tape, usually from overplay.

Rowsley, UK | ‘Irreplaceable’ vinyl records sold at Rowsley car boot by mistake: A woman has said she is “horrified” after a relative accidentally sold 16 of her sentimental vinyl records for less than £1 each at a car boot sale. Rohan Mellor said the albums she had inherited were being stored by a relative while she moved house. They were sold in Rowsley, Derbyshire, on Sunday, the day after she and her husband got back from their honeymoon. Mrs Mellor said they were first press albums from the early 1960s to late 1970s, and were “irreplaceable”. They included albums by The Rolling Stones, The Beatles, David Bowie, AC/DC, The Clash, and The Who. The 26-year-old said the relative storing them had recently had a bereavement and accidentally mixed her records up with items she was clearing out. The vinyl records had been collected by Mrs Mellor’s father and uncle, and after her uncle died a few years ago her father gave them to her and her sister. She said she was “utterly shocked and horrified” that they were gone.

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TVD Cleveland

TVD Live Shots: My Morning Jacket and Indigo De Souza at Jacob’s Pavilion, 6/21

It’s been five long years without a My Morning Jacket show in Cleveland, but that streak was fortunately broken last week in a scorcher of a set (both literally—it was hot AF—and figuratively—the band itself also melted faces) at Jacob’s Pavilion.

The show kicked off MMJ’s summer tour, which unfortunately came to a grinding halt two days later, as frontman Jim James tested positive for Covid. Consequently their two Louisville homecoming shows were cancelled, Detroit and Columbus were rescheduled, and I’ve spent the last week feeling pretty damn lucky that I got to see them at all. MMJ is set to resume their tour in Madison, Wisconsin on July 1st and hopefully this is the last time that Covid interferes with their health and wealth.

As for the Cleveland show, it was full of everything I love about My Morning Jacket: soaring vocals, epic solos, full-on jam-outs, and thoughtful production lighting. Their band chemistry is simply off-the-charts—not to mention that they’re all musical wizards—and that combo makes for something seriously special.

Keyboardist and Lakewood native Bo Koster got a little extra love from the crowd after his solo on “Feel You,” but ultimately every member of the band dazzled. On more than one occasion I saw mouths gaping open all around me. It’s how you can identify new members of the flock.

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TVD Washington, DC

TVD Live: Jason Isbell, Sheryl Crow, and Waxahatchee at Wolf Trap, 6/17

Bundling acts together for summer tours doesn’t just provide entertainment value, it also allows fans of one act to be introduced (or reintroduced) to acts they might otherwise not have bought a ticket for—and being pleasantly surprised as a result.

At first look, the Americana stardom of critics’ favorite Jason Isbell might not need a second act to bolster sales. Indeed, he’s drawn large crowds on his own across the country—including Wolf Trap, just last fall, where this month he was back again for two nights.

Yet for all his success, he hasn’t had a fraction of the radio play, sales, or widespread pop dominance of Sheryl Crow—whose fans in turn may or may not be aware of his deft songs. Sharing a bill on a tremendous summer night at the wooded Virginia venue and showed how much they have in common, with great bands and sharp songwriting.

Fans of Isbell would be reminded how many of Crow’s songs they already knew by heart and may have forgotten; and those who came for her hits were open and fair minded enough to hear what the fuss about Isbell was all about, maybe for the first time.

The double bill was more than a Machiavellian promoters’ idea; the two had worked together on Crow’s last album, Threads, on a remake of Bob Dylan’s “Everything is Broken” that they reproduced on stage, trading verses and guitar licks.

Crow professed to love everything about Isbell’s music and his politics—though that didn’t come up at all from either artist, particularly. Isbell, for his part, said he’d never had a more fun tour than the one with Crow and opener Waxahatchee, which was already winding up after just seven dates up the Atlantic coast. (Really? Never?)

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The TVD Storefront

TVD Radar: KISS, Off The Soundboard: Live In Des Moines 1977 2LP in stores 9/9

VIA PRESS RELEASE | On September 9, rock icons KISS will release the next installment of their popular Off The Soundboard official live bootleg series with KISS—Off The Soundboard: Live In Des Moines 1977, recorded during the Alive II tour at Veteran’s Memorial Auditorium in Des Moines, IA on November 29, 1977.

This is the latest in a series of live releases by the band and will be available to stream and download, with a 17 song 2-LP standard black vinyl set, single CD, and a limited-edition 2-LP set pressed on 180g purple vinyl available exclusively through the Official KISS online store. All configurations of KISS—Off The Soundboard: Live In Des Moines 1977 are available to pre-order, HERE.

KISS—Off The Soundboard: Live In Des Moines 1977 was recorded during the landmark and extravagantly-produced KISS Alive II tour, and the 17-song set features a raw and powerful performance of classic KISS concert staples such as “Let Me Go Rock ‘N’ Roll,” “Love Gun,” “Rock And Roll All Nite,” (No. 12 Billboard), “Shout It Out Loud,” and “Beth” (No. 7 Billboard chart hit and the 1977 People’s Choice Award winner in the Best Song Category) performed by the lineup of Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss. KISS—Off The Soundboard: Live In Des Moines 1977 captures a monumental moment in KISStory and is a celebration of the legendary band giving rock ‘n’ roll fans the ultimate live KISS experience.

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The TVD Storefront

Graded on a Curve:
The Gun Club,
Fire of Love

Remembering Jeffrey Lee Pierce, born on this day in 1958.Ed.

The Gun Club underwent myriad changes in personnel during their existence, but the one constant element was founder Jeffrey Lee Pierce. In 1979 he formed a group whose impact is still being felt today. The best place to begin investigating Pierce’s achievement is at the beginning with The Gun Club’s classic 1981 debut Fire of Love.

Whenever OFF! undertakes a tour there’s undoubtedly a smattering of older heads reliably if reluctantly finding themselves getting a little misty around the eye sockets when the band pencils in “Jeffrey Lee Pierce” for the set list. Deservedly so, for that song, all 1:21 of it, is a tribute to an important if undersung rock contributor, and not by a fan but from a close friend. Indeed, the intro to the cut on Live at the 9:30 Club finds Keith Morris steeped in emotion, his preamble roughly as long as the track itself.

Now, some folks might get a bit miffed over certain umpteenth-generation hardcore whippersnappers only knowing of Jeffrey Lee Pierce because Morris wrote a song about him. But easy there, partners. We all tend to occasionally idealize and even embellish our paths of musical discovery, mainly due to the reality sometimes being as bland as simply plucking a cassette from a discount bin. That was this writer, fishing a severely marked-down copy of the third Gun Club album The Las Vegas Story from a massive box of cut-out tapes in a mall chain store back in 1987.

Perhaps somewhat more interesting is what led me to make that purchase. I first learnt of The Gun Club through an article published in an anthology/anniversary issue of Flipside magazine. Having been exposed to punk not long previously, restlessness over the music’s generic inclinations had already set in, and simultaneous to the almost daily unearthing of new delights.

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The TVD Storefront

TVD Radar: The Podcast with Evan Toth, Episode 76: Graham Nash

PHOTO: RALF LOUIS | Sometimes, in order to go forward, you must first take a look at your past. Graham Nash has a rich and undoubtedly storied history behind him and he has recently released a live album titled, Graham Nash: Live which features him performing his first two albums—Songs for Beginners (1971) and Wild Tales (1973)—in their entirety. Mr. Nash will also be performing at the Count Basie Center for the Arts in Red Bank, NJ on July 13th.

Nash, however, has often focused on the future and shows no signs of slowing down. While he’s excited about this new live release, he’s also recently published A Life in Focus: The Photography of Graham Nash which showcases his longtime affair with photography. And, as we learn in this interview, he’s just completed a brand new solo album which is due to be released in early 2023. But in this chat, Graham and I talk about why he chose to revisit his first two solo albums and the experience of retracing the footsteps he made nearly a half-century ago.

Of course, we also discuss the Hollies and Crosby, Stills, Nash and Young, making long-term musical relationships work and how you can’t really envision where you’re going, unless you know where you’ve been.

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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The TVD Storefront

Graded on a Curve:
Billy Squier,
Absolute Hits

Video killed the radio star. Or so it went in the strange and dreadful case of eighties arena rocker Billy Squier, whose fortunes were firmly on the up and up when he released the controversial MTV video for “Rock Me Tonite.” And by controversial I don’t mean it was sexist, homophobic, or racist. No blind people walked into walls. It did not advocate human sacrifice or the clubbing to death of baby seals, and included no footage of Catholic nuns having sex with barnyard animals. No, it was simply so unintentionally hilarious it got Billy laughed straight out of his career.

To say Squier makes a fool of himself on “Rock Me Tonite” video is akin to calling the sinking of the Titanic a minor boating accident. It opens with Billy crawling out of bed, tousling his mop of curly hair, donning a pair of white drawstring pants and pulling on an unspeakably awful pink sleeveless T-shirt. He then proceeds to do things no human being should do in private, much less in front of a camera.

He dances (horribly), pouts his lips, flings what appear to be a pair of pink panties (where did they come from?) into the air, slithers across the floor, rolls onto his back and gyrates his hips like a cross between Gregor Samsa and Shakira in the “La Tortura” video, does some pretty good pole dancing, flaps his arms up and down like a gaudy rooster attempting to defy the laws of nature, and in general does a very bad parody of the aerobics dancers in Eric Prydz’s “Call on Me.”

And more’s the pity, because Squier, while a second tier rocker relegated to opening for bigger and better acts, produced a handful of songs worth a listen. He was certainly peddling the product. The albums prior to 1984’s Signs of Life (which spawned “Rock Me Tonite”) scored big—1981’s Don’t Say No and 1982’s Emotion in Motion went triple and double platinum respectively.

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A morning mix of news for the vinyl inclined

In rotation: 6/27/22

St. Louis, MO | Jean Haffner’s Record Exchange Is a Haven for St. Louis Audiophiles: In a building of a former library, bins of records, shelves of CDs and boxes of products tower almost as high as the ceiling. Only the sound of customers peeling through plastic-covered records can be heard over classic rock playing over a loudspeaker. This is the Record Exchange (5320 Hampton Avenue, 314-832-2249), where owner Jean Haffner, 76, has built a literal library of records and music paraphernalia in the former Buder Branch of St. Louis Public Library in St. Louis Hills. It’s the largest record store in St. Louis (and possibly the country, Haffner claims). Haffner’s overwhelming inventory of vinyl records, cassettes, laserdiscs, 45s, VHS tapes, CDs and more, is the combined behemoth of nine record stores and two antique shops. He opened the first record shop in 1976 but closed all but one of the 11 stores about 15 years ago after he “got tired of traveling.”

Asheville, NC | Local record-shop entrepreneurs discuss the wild world of vinyl: Like a good Shakespearean drama, vinyl records have gone from royalty to pariah and back to the throne over the past half-century. According to the Record Industry Association of America, vinyl sales have grown for 15 consecutive years, with 2021 revenues increasing by 61% to $1 billion. In a music-rich city like Asheville, it’s only fitting that multiple businesses specializing in wax have become fixtures around town. Since 2004, Harvest Records in West Asheville has set the standard for record stores, carrying vinyl from its inception, despite CDs initially carrying the bulk of its sales. “I’m honestly not sure how much thoughtful intention was put into it,” says co-owner Mark Capon, who notes that he and co-owner Matt Schnable simply followed their instincts and interest. “We’ve always just passively fostered it, I suppose. We never sat in an office and thought, ‘How can we create vinyl addicts?’ We just kept it as available, interesting and affordable as we could.”

New vinyl pressing plant to open in California: The new plant will be equipped with eight presses from Nashville’s Record Pressing Machines. A new vinyl pressing plant is set to open in southern California. Californian reissue label Mobile Fidelity Sound Lab (MoFi), which is owned by online audio accessories retailer Music Direct, is behind the venture, as Billboard reports. The plant, which has designs on becoming America’s “premier vinyl production facility,” will install eight presses from Nashville’s Record Pressing Machines and will initially aim to press two million records drawing on “quality—not quantity.” The new plant is a commercial team-up between MoFi, Music Direct’s Jim Davis, and vinyl engineers Rick and Edward Hashimoto. “The biggest opportunity is the increased capacity for our related record label, Mobile Fidelity Sound Lab,” Davis told Billboard. “It’s been frustrating watching demand far outpace our ability to deliver records to our customers. The expanded capacity will enable us to issue records that aren’t just the standard classic rock and jazz…

TikTok releases first album of viral hits: Some of the biggest viral hits on TikTok have been given the full orchestral treatment and will get a traditional release on CD and vinyl this summer, the platform announced Friday. The tie-up with Warner Classics is the first time TikTok has ventured into the traditional music market and will see the 18 songs released on streaming platforms as well as in record stores. Anyone who has spent any significant time on the video streaming platform will recognise songs such as “No Roots” by Alice Merton which has been used on 1.3 million videos. Or pleasant piano ditty “Pieces” by Danilo Stankovic, used by some 3.4 million TikTokkers. All have been given a full work-over by Germany’s Babelsberg Film Orchestra. “Listening to No Roots in a new musical context is inspiring,” Merton said in a statement. “I’m excited about the project and I’m looking forward to seeing how it comes to life.”

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TVD Los Angeles

TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

Inside every man / Lives the seed of a flower / If he looks within he finds beauty and power / Ring all the bells, sing and tell the people everywhere that the flower has come / Light up the sky with your prayers of gladness and rejoice for the darkness is gone / Throw off your fears let your heart beat freely at the sign that a new time is born

What’s the difference? If I was to guess it would be the little things in life? I don’t know, but I do like using a “question” as a muse for a playlist. Flipping through my crates, I came across my old Smiths albums. I remember hearing “What Difference Does It Make?” on Rodney on the ROQ. Thinking back it was a fascinating time in music.

The punk movement I adored as a teenager had essentially faded, replaced by new wave, which had it moments. California hardcore punk was still fun—and then there was this new music called rap. By this time I was a hip art student at UCLA. I found myself making blacklight graffiti paintings for the coolest underground nightclub in the Hollywood scene. The Rhythm Lounge played only rap and ’80s dance records (like Tyrone Bronson’s “Sticky Situation”).

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TVD Live Shots: Nine Inch Nails at the O2 Brixton Academy, 6/21

I’m standing in the photo pit between five thousand screaming Nine Inch Nails fans and the stage at the legendary Brixton Academy. I’ve been here dozens of times before, but this one was different; the return of one of the most influential bands of all time.

It’s been four years since Trent Reznor and company brought their brutal industrial sounds to the UK, and a lot was riding on this one. The smoke rolls across the stage, cutting through the chromed metal fixtures as if it’s on a mission to engulf the entire front of the stage, including myself. Mission accomplished. The stage is a glowing orange, reminiscent of a futuristic wasteland as it’s contrasting with the darkness leaving an eerie feeling of the inevitable nuclear blast of sounds about to hit.

Then it happens. The lights go dark and before I can even turn my head to comprehend what’s happening, the whitest light I’ve ever seen hits me. It was like watching an atom bomb explosion through a welder’s mask—and just like that the band is blasting into their first song. Holy shit, I didn’t even see anyone walk on stage, and now I’m in the middle of a full-on riot.

I’ve seen thousands of shows before, and generally, you get some inkling that the band is coming on stage in the form of the drummer first taking to the throne with a stick in the air, a gracious wave from the singer, and snark from the guitarist. Fuck that, not this time. It was pedal to the metal, an all-guns-blazing sonic assault. Fuck, this is awesome turns quickly, too, fuck, I’ve got to take some pictures. Seconds later the crowd surfers are in full force, dropping, kicking, screaming, and reaching for the stage; it’s full-blown chaos.

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The TVD Storefront

TVD Radar: Atreyu, Suicide Notes and Butterfly Kisses 20th anniversary reissue in stores 11/18

VIA PRESS RELEASE | To celebrate the 20th anniversary of Atreyu’s acclaimed debut, Suicide Notes and Butterfly Kisses, Craft Recordings announces a special slate of vinyl reissues.

In addition to returning to classic black vinyl, the metalcore masterpiece (which features the singles “Ain’t Love Grand” and “Lip Gloss and Black”) will also be available in three collectible colorways. These include a “smokey clear” edition, exclusive to Revolver and limited to just 200 units, as well as “clear-blue/black swirl” wax, limited to 500 units, and exclusive to Atreyu’s website. Additionally, fans can find a “sea glass clear” edition, limited to 500 units, exclusively at the Victory Records and Craft Recordings websites. All editions will be released on November 18 and are available for pre-order today.

Named for the protagonist in Michael Ende’s The Neverending Story, Atreyu were formed in 1998. By the time they caught the attention of Victory Records in 2001, Atreyu had already released two EPs—the seven-track “Visions” in 1999 and the five-track “Fractures in the Facade of Your Porcelain Beauty” in early 2001. The latter release would lay the foundation for the metal band’s debut album, with early versions of the songs “Living Each Day Like You’re Already Dead,” “Someone’s Standing on My Chest,” and “Tulips Are Better.”

After signing to Victory, the band entered New Jersey’s Trax East studio with producer Eric Rachel (The Starting Line, The Black Dahlia Murder) to lay down the tracks for their full-length. In addition to re-imagining the three songs off “Fractures in the Facade of Your Porcelain Beauty,” Atreyu wrote a scorching collection of new material, deftly combining honest, reflective lyricism with the sounds of thrash, hardcore punk, and the New Wave of Swedish Death Metal.

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The TVD Storefront

Graded on a Curve:
Blue Öyster Cult,
Agents of Fortune

Remembering Allen Lanier in advance of his birthdate tomorrow.

When it comes to 1970s faux evil rock bands that didn’t have a bone of true evil in their bodies, Blue Öyster Cult comes in right behind Alice Cooper and Black Sabbath.

BÖC flirted shamelessly, tongues planted firmly in cheek, with the iconography of the dark side (they sang about S&M, made references to Martin Bormann and put Nazi jet fighters on their album covers, and let’s not forget the Patti Smith-penned “Career of Evil”) and people bought it until, like the previously mentioned bands, the boys from Long Island took it right over the top, and it became obvious that it was all a big joke and they were about as evil as Debbie Gibson.

But if it was all a shuck—and it was: even the rock critic Richard Meltzer, who wrote some of the band’s songs including “Burnin’ for You,” noted, “This is really hard rock comedy”—it led to some pretty great music, culminating Agents of Fortune, which was so wildly successful Robert Christgau dubbed BÖC “the Fleetwood Mac of heavy metal.”

Formed in 1967 as The Soft White Underbelly, the band subsequently changed its name to Oaxaca, then the Stalk-Forrest Group, then and the Santos Sisters before finally settling on Blue Öyster Cult in 1971. They were the first band to employ an umlaut in its name and came up with the most instantly recognizable band logo this side of Black Flag, and were guided step by step by manager Sandy Pearlman, who got them signed, wrote a lot of the band’s lyrics, helped produce their LPs, gave them their name, etc.

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The TVD Storefront

TVD Radar: Hustle (Soundtrack from the Netflix Film) by Dan Deacon red and blue vinyl in stores 10/22

VIA PRESS RELEASE | Netflix and Diggers Factory are excited to announce the release of the Hustle (Soundtrack from the Netflix Film) LP with music by composer Dan Deacon. The soundtrack is available now for pre-order on Diggers Factory and comes pressed on blue vinyl, with an exclusive red version live on Netflix Shop. Adam Sandler’s Hustle debuted on Netflix’s English Films list at #1 with 84.58M hours viewed and climbing. With a Rotten Tomatoes score of 92% from critics and 92% with audiences, the film has been getting rave reviews.

Stanley Sugerman’s (Adam Sandler) love for basketball is unparalleled, but the travel weary Philadelphia 76ers scout who has higher ambitions of being a coach remains stuck on the road looking for the next unknown talent. His search around the world leads him to Spain, when he discovers Bo Cruz (NBA player Juancho Hernangómez), an incredible streetball player with a troubled past.

Stanley and Bo connect on and off the court, with their passion for the game and as loving family men who want to prove they can win, in basketball and in life. With the support of Stanley’s wife, Teresa (Queen Latifah), can the underdogs come out on top? Hustle, an inspirational drama, co-stars Ben Foster, Kenny Smith, Anthony Edwards, and Tobias Harris, is directed by Jeremiah Zagar and is produced by Sandler, Allen Covert, Joe Roth, Jeffrey Kirschenbaum, Zack Roth, LeBron James, and Maverick Carter.

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The TVD Storefront

Graded on a Curve: Fleetwood Mac,
Kiln House

Celebrating Mick Fleetwood on his 75th birthday.Ed.

Between their start as a standard English blues band and their apotheosis as perhaps the seventies best pop group, Fleetwood Mac wandered from style to style and sideman to sideman, and in so doing put out some very intriguing albums. 1970’s Kiln House is a fine example.

Guitarist Peter Green was out. Guitarist Jeremy Spencer was in, as was (kind of) Christine McVie, who provided backing vocals and wouldn’t be considered a full member until 1971’s Future Games. Bob Welch, Lindsey Buckingham, Stevie Nicks were all in the future.

Like the other LPs Fleetwood Mac would release during their middle period, Kiln House is a dizzyingly eclectic affair. You get a couple of rockabilly rave-ups, a country music parody, a very, very English folk rock instrumental, an engaging hard rocker in the vein of The Hollies’ “Long Cool Woman” (only gnarlier!), a couple of very likable folk rock ditties, and an inspired cover of “Buddy’s Song,” which is credited to Buddy Holly’s mom Ella but is basically “Peggy Sue Got Married” with new words.

Kiln House constitutes a loving backwards look at rock ’n’ roll’s past, and as such anticipated the “rock ’n’ roll revival” that would inspire albums by the likes of John Lennon, The Band, David Bowie and a whole slew of backwards-looking English glam bands.

Fleetwood Mac doesn’t quite follow through on the concept; songs like “Earl Gray” (the aforementioned instrumental), “One Together” (which could be a Neil Young tune), and “Station Man” (chug-a-lugging blues number with nice vocal harmonies and raucous guitar) are hardly R&R revival fare. And that goes double for the C&W send-up “Blood on the Floor,” on which Jeremy Spencer does an uncanny imitation of a woebegone hillbilly crying tears in his beer.

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A morning mix of news for the vinyl inclined

In rotation: 6/24/22

Miami, FL | Best Record Store: Found Sound Records. As we enter year 17 of the great vinyl comeback, it makes sense that actual brick-and-mortar record stores are seeing a parallel resurgence. If listeners want their music to occupy a physical form, it makes sense they’d also want their shopping experience to be nondigital. North Miami’s Found Sound Records hearkens back to a day when independent record shops were grounds for new discoveries and downloading wasn’t even a word. Every Tuesday through Saturday, from 1 to 7 p.m., owner Ralph Pichardo sits behind the counter spinning vinyl, ready to answer customers’ questions about everything from Father’s Day gifts to why you might want to steer clear of that Legendary Stardust Cowboy album. The inventory of new and used records hovers around 8,000, including original pressings and other rarities but also crates filled with LPs priced as low as two bucks.

Brooklyn, NY | A new record shop is opening in Brooklyn: Stocking both new and used records, alongside movies, books, and more. Brooklyn Record Exchange is opening its second outpost, in NYC’s Greenpoint neighbourhood. Brooklyn Record Exchange, a collaboration between NYC label Mexican Summer, Mike Hunchback, and Ben Steidel, opened its first shop in 2019. The new Greenpoint outpost will feature a dedicated selection of Mexican Summer and Anthology releases, as well as both new and second hand records, movies, and books. The team also plan to host in-store events, with DJs Lauren Murada, Alyssa Stowers and Timo Lee playing the opening party. Brooklyn Record Exchange will open on the 24th June at 87 Guernsey St., Brooklyn, New York.

Bristol, UK | Bristol record store makes debut appearance at Glastonbury Festival: “Lots of people have already come by to say hi.” Bristol record shop Longwell Records has made its debut appearance at Glastonbury Festival, two years after first securing a place. A little slice of Bristol currently sits between West Holts and Left Field with shop owner Iain Aitchison delighting passers-by with his extensive mix of records – there is of course a Glastonbury specials box – merchandise and Bristol-themed artwork. Southmead born Iain hasn’t been to Worthy Farm in 25 years, and this year is slightly different to the 1997 “Year of Mud”, with festival goers enjoying glorious sunshine so far. He was also a punter back then when acts included The Prodigy, Radiohead, Massive Attack, Ray Davies and Sting. It’s safe to say he’ll be a bit busier this year manning his pop-up shop, and despite being almost an hour from Keynsham that hasn’t stopped his regular customers also at the festival from stopping in to say ‘hi’.

Bristol, UK | Bristol’s Idle Hands puts out final release “for time being.” The imprint first began in 2009 with releases from Peverelist, Kahn, and Shanti Celeste. Bristol-beloved imprint and record store Idle Hands has announced its movement on to pastures new over a decade after its launch. Announced alongside the release of the label’s final compilation “for the time being”, Idle Hands told fans: “This is the end of a chapter. The shop continues and new projects beckon.” “The last Idle Hands release for the time being,” they added. The label’s final release pulls in four artists “with close ties” to the imprint – K-LONE, Glances, Bruce, and Rhythmic Theory. “Bruce with a contemplative dancefloor dub in tribute to Alex T. K-LONE delivers a subtle and subby house roller. Rhythmic Theory with a bumpy and bassy techno track. Glances bring a deft funkiness to the broken techno sound…”

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