A morning mix of news for the vinyl inclined

In rotation: 3/19/24

Torquay, AU | J Wray Records: Torquay’s newest haven for vinyl devotees and local music lovers: If rare finds, local talent, and the timeless allure of vinyl stir something within you, then prepare for a new addition to your cultural radar. Tucked away in the coastal oasis of Torquay, a new destination has emerged – J Wray Records. Owned and curated by local enthusiast Josh Wray, this boutique record store offers a serene escape for vinyl devotees and music lovers alike. With its recent opening over the March long weekend, J Wray Records invites those seeking a haven where the melodies of yesteryear and contemporary tunes harmonise in perfect unison. Originally established online in 2022, Josh Wray’s venture into the world of vinyl commerce gained traction through appearances at Garage Geelong and the Geelong Vintage Market in 2023. Now, in 2024, J Wray Records has taken a physical form, becoming a cornerstone of Torquay’s burgeoning music scene.

Bakery Hill, AU | Store calls out for record spin celebration: The owners of the recently opened Kank Wolverang Records are calling out for people to get involved in an annual disc-flicking occasion.Next month, the shop will be one of many acknowledging Record Store Day on Saturday 20 April, and co-owner Justin Hayward said they’re keen for collectors and traders to get involved. “We’re hoping to get a diverse crew of people interested in selling and buying, and it’ll be a celebratory day,” he said. “We’re after fans of music that would be able to tell you about what they’re buying and selling. “We’re hoping to have live music and DJs throughout the day too, as well as special offers through the shop.” Eight stalls have been booked so far with the capacity for between 12 and 15 traders overall.

Bristol, UK | Record Store Day 2024: A list of some of the best record stores in Bristol: A record store is not just for Record Store Day however… Bristol is home to an array of wonderful places you can visit for all of your record and music needs, including some that have been on our high streets for decades. Ahead of Record Store Day on Saturday, April 20, we want to celebrate some of the independent record shops to support whatever the time of year. Many of them specialise in certain genres of music, certain specialities, host live events—and some even stay well away from Record Store Day completely. Some are located in Bristol’s inner city shopping hotspots, while others are in less central locations that are worth making the journey to. Record stores are often a treasure trove for not only enthusiasts but simply those who love the sound of a record playing their favourite pieces of music, but some are struggling with the cost of living crisis.

Manchester, UK | A spin around Northern Quarter’s newest record shop with a witty name and a treasure trove of vinyl. You’re sure to find some real gems in here. We recently popped our heads into the wittily named Withy Groove Records, the new vinyl exchange and all things music that quietly opened up its doors late last year but is now one of the latest hidden gems in the Northern Quarter. Opening up on the edge of Shudehill on the edge of NQ and just down the road from the Withy Grove Stores buildings (hence the clever little name), the new basement record shop technically began trading in December 2023 but has only just had its front signage completed and the name put above the door. We especially like the new striking Haçienda-inspired lettering, not that we’re biased towards black and yellow logos or anything… But seriously though, this little den of old discs, vintage vinyl and music memorabilia is an absolute must-visit for any audiophiles out there.

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TVD UK

TVD Live Shots: Filter
at the O2 Academy Islington, 3/16

When Filter unleashed their first record nearly 30 years ago, it was like a sonic sledgehammer smashing through the music scene’s norms—unadulterated industrial metal at its purest. Yet, as they evolved, shredding the playbook for a sound that melds gut-punching riffs with a denser, more organic metal, their creative trajectory has only ascended.

Their London gig on Saturday was no mere concert; it was a tempest of sound, helmed by the indomitable Richard Patrick, whose genius has only intensified over the years. The Algorithm marks a zenith in their journey, marrying the ferocious energy of their early days with a sharp modern edge that cuts through today’s musical clutter.

Having seen Filter live a dozen times over the years, I can assert without a hint of hyperbole that now is the ultimate time to experience them. The setlist—a seamless blend of their immense catalogue with the blistering tracks from the new album—showcases a band at the peak of its powers.

Onstage, the atmosphere was electric, a visual spectacle of deep purples, blues, and enveloping smoke, making for a photographer’s nightmare but a fan’s dream. Patrick, in his signature Ray Bans, was a force of nature. His voice, commanding and potent, anchored the night, drawing us into a shared journey through Filter’s evolving soundscape.

The setlist was a masterful raid on Filter’s arsenal, zeroing in on the raw power of their first three albums while snatching some gems from soundtracks and their more underrated works. “Jurasitol” and “Trip Like I Do” detonated with epic force, while “You Walk Away” and “American Cliché” hit harder than ever, each riff a sledgehammer to the senses.

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TVD Radar: Elaine Brown, Seize the Time deep purple vinyl reissue in stores 5/3

VIA PRESS RELEASE | Elaine Brown has led a life of distinction. Appointed in August 1974 by Huey Newton from his exile in Cuba to be the one and only female leader of the Black Panther Party, Elaine has pursued a career of community service that continues to this day.

But her debut 1969 album Seize the Time leaves one wondering what would have happened had she not put her musical career second. She was first discovered as a performer while singing Thomas Dorsey’s “Precious Lord” at the funeral service for Panther Bunchy Carter.

Afterwards, Panther’s Chief of Staff David Hilliard had her audition for him accompanying herself on piano. That session led to her composition “The Meeting” (about an encounter with Eldridge Cleaver) being adopted as the Black Panther Party National Anthem, and an album was commissioned.

Elaine enlisted Los Angeles jazz legend Horace Tapscott and his Pan-Afrikan Peoples Arkestra to arrange and back her, and Seize the Time was born—which the Black Panther Party’s newspaper called “the first songs of the American revolution.”

Blending influences ranging from Bob Dylan to classical, and anchored by Elaine’s powerful delivery of her deeply-felt lyrics, this album will stir your blood whether you agree with its politics or not. Now, with the cooperation of Elaine Brown herself, Seize the Time sees its first-ever American LP reissue, complete with original “uni-pak” packaging featuring lyrics and liner notes, plus an insert with new liner notes by Pat Thomas, author of Listen Whitey! The Sounds of Black Power 1965-1975. Limited run of 950 copies in deep purple vinyl.

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The TVD Storefront

Graded on a Curve: Wilson Pickett,
Hey Jude

Remembering Wilson Pickett, born on this day in 1941.Ed.

Hear ye hear ye: I am going to begin this review of Alabama native son Wilson Pickett’s 1969 LP Hey Jude by stating right off that the title cut is one of the most phenomenal songs ever recorded, and is in fact so great I would probably give this album an A even if every other song on it was a jingle for a cereal commercial.

Pickett, whom I consider the best screamer in the history of soul and R&B, if not rock too, lays into “Hey Jude” like somebody just chopped his foot off with a hatchet, while the horn section kicks ass and Duane Allman, who was just beginning his career as a session musician, tears off one of the most brilliant and in-your-face guitar solos you’ll ever hear. It’s a bravura performance, “Hey Jude,” and supernatural in its greatness, and if I die tomorrow I will die having heard a sound so pleasing to God that he decided (I’ve talked to him about this) to push the date of the Last Judgment back a hundred years or so.

Fortunately Pickett fills out the album with a bunch of other songs that, while they can’t (what could?) compare with “Hey Jude,” are excellent in their own right. His voice is a miracle, his screams make Joe Cocker sound like a pee wee leaguer, and in short he turns in a whole slew of superb performances, demonstrating his mastery of phrasing and the wild scream even on those songs (his unfortunate take on Steppenwolf’s “Born To Be Wild,” the gospel-flavored but not very exciting “People Make the World,” and the funky but unhappily titled “Toe Hold”) that don’t quite measure up to the rest of the songs on the album.

Putting Pickett, Allman, the Muscle Shoals Rhythm Section (the so-called Swampers), and some great horn players together in the studio was a stroke of genius on Atlantic Records honcho Jerry Wexler’s part, and it paid off in a royal flush as the bunch of ‘em simply could not fail to turn an okay song into a great one.

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TVD Radar: The Podcast with Evan Toth, Episode 140: X Ambassadors’ Sam Nelson Harris

What does it take to be epic? Many filmmakers and creators struggle to construct breathtaking spectacles for audiences that will allow them to escape into a transformative world that depicts events that would not normally be seen with human eyes. But what about the music? Once they’ve created the visual component, how do they find the right music to both compliment and even elevate the towering images that appear on your local IMAX theater’s screens?

For many years, the industry has called upon Sam Nelson Harris and his band—X Ambassadors—to provide music for the soundtracks that are as compelling as your favorite comic book character’s powers. Most recently, the band featured a song in the new Aquaman and the Lost Kingdom film, but they have also placed music in Transformers: The Last Knight, The Call of the Wild, Sonic the Hedgehog, and Suicide Squad. It’s the band’s prodigious sound and production that make them the perfect choice for an enthralling cinematic display.

The voice you hear on these tracks belongs to the band’s frontman Sam Nelson Harris who is also an actor, producer, and songwriter. On this episode Sam and I discuss how he and the band traverse the intersection between the music and film industries. We also discuss the band’s forthcoming newest record, Townie which is slated to be released on April 5. It’s easy to hear how Sam and I are both excited for this release to hit the shelves.

So, think big! Get into a larger-than-life mood and prepare to explore the process by which the huge sounds you hear on your favorite viewing screen usually just come from one person with an idea. The magic is in how that acorn is transformed into a towering Oak. Sam Nelson Harris shares his secrets about taking good ideas and molding them into something epic.

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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Graded on a Curve:
White Witch,
A Spiritual Greeting

Here’s a joke for ya: What do you call a glam rock band coming out of Florida in the early seventies? Deceased. Because as everybody knows Gator Country was Southern Rock territory, the natural-born stomping grounds of the Allman Brothers Band, Lynyrd Skynyrd, the Outlaws and a slew of lesser lights. And if there was one thing guaranteed to make the most rearguard redneck fans of said bands (and even the gators wandering around like they owned the place) see red it was a band of limp-wristed fops in platform boots with stars painted on their faces, lowering the region’s nationwide high testosterone levels. Why, that’s the kind of damn fool stunt that could get a fella murderized.

But as impossible as it sounds Florida did produce an honest-to-God glam band in the early Seventies, and nobody killed them! They went by the name White Witch, and the first I heard of them was from a friend whose description of them went, “They were Ziggy Stardust come to Florida.” Well those words were like manna from Heaven to me—I just had to check White Witch out.

And all I can say having heard them is they were far weirder than I could have ever imagined. For the simple reason that they couldn’t decide whether they wanted to be a glam rock band or a boogie band or a metal band or (and I’m not kidding here) a progressive rock band. Not only were they “Ziggy Stardust come to Florida” they were “Styx come to Florida,” and try to wrap that around your frontal lobe if you can. What were these guys doing? Did they not realize they were making your more combative Skynyrd fans shit Confederate battle flags?

Which isn’t to say they didn’t have some redneck in ‘em. Chuck Eddy, who put White Witch’s second and final album, 1974’s A Spiritual Greeting, at No. 266 on his list of the 500 best heavy metal albums in the universe, wrote that lead singer Ronn Goedert possessed “the craziest hickmetal throat this side of Mistah Jim Dandy himself,” and he’s right. A True Son of the South, Ronn Goedert, but it’s what he did with those Dixie tonsils of his, and what the band was doing around him as he was exercising said tonsils, that made all the difference. Cosmic rock wasn’t altogether taboo south of the Mason-Dixon line—just check out Black Oak Arkansas’ epic walk-through-the-halls-of-karma “Mutants of the Monster” if it’s proof you’re looking for.

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A morning mix of news for the vinyl inclined

In rotation: 3/18/24

Newport, UK | Triple A destination for vinyl fans: Two music lovers have opened a new record shop in Newport. Andy Barding, who opened the original AAA Records in Scarrots Lane nearly five years ago, and Jonathan Bacon opened the new AAA Records Store at 111–112 St James’ Street on Saturday. The shop will primarily stock vinyl LPs and singles, but will also be selling all hard copy formats of music including CDs, cassette tapes and 78s, as well as music supplies for performers and enthusiasts. There’s even a partnership with Medina Bookshop, with an area of the shop dedicated to books on music and musicians. The pair have plans to expand over the coming weeks, including exhibitions highlighting Island music heritage and history, following on from the recent ‘Needles in the Groove’ exhibition in Ryde, curated by Andy. There will also be in-store events and performances.

Indianapolis, IN | The Record Store: Seasoned Owner Tells Us How Much (and How Little) Record Stores Have Changed: Meet James Ector co-owner of Karma Records in Indianapolis. “I want to show you something cool,” says James Ector, co-owner of Karma Records in Indianapolis. Wearing a dark hoodie over a Cheap Trick T-shirt, he grabs a Ziploc baggie from an old filing cabinet—covered with generations of stickers—and slides out a black-and-white photo. “A customer brought this in to us. That’s Van Halen.” Ector points to the man in the middle, who looks like Billy Joel but is actually a local DJ popular in ‘70s and ‘80s, and he’s flanked by four guys who looked like they’ve been up all night. They’re all holding T-shirts and visors emblazoned with the Karma logo. On the far end is Indiana native David Lee Roth, looking both painfully hungover and ready for the next party. “This would have been their first tour, when they were opening for Black Sabbath,” he says.” They stopped by Karma.

FL | Top 5 vinyl record stores in South Florida: Vinyl records are making a massive comeback and South Florida is a vinyl scene. Miami offers a vibrant and diverse vinyl culture that will leave music lovers wanting more. You will be able to find vinyl from classic rock to hip-hop and everything in between. If you’re a music lover and looking for some awesome record stores in Miami, you’re in luck. Technique Records: Whether you want to buy, sell, or trade, Technique Records is the place for you. Known for its extensive collection of rare-used vinyl, Technique Records is a haven for vinyl collectors and enthusiasts. Providing different genres like Alternative, Garage, House and Latin. Michael Ramirez and his team have welcomed music enthusiasts since 2018. Ramirez stated his demographics have changed over the years with more women becoming interested in vinyl collections and a youthful crowd gathering. Ramirez feels confident that with his team, they can pay attention to trends and upcoming artists…

Fischer, TX | Yard Sale Records joins Hill Country music scene with brick-and-mortar: The shop offers new and used vinyl, books, magazines, posters, and vintage clothing. Vinyl record lovers have a new spot in the Hill Country with the opening of a new brick-and-mortar record store. Music lovers now have a go-to for all things new and old in the music scene. Yard Sale Records opened its “little piece of vinyl heaven” on Friday, March 1, at 880 Elliot Knox Blvd., Ste. 600, New Braunfels, located off Elliot Knox Boulevard near S. Walnut Avenue. The shop offers an assortment of new and used vinyl, books, magazines, posters, and select vintage clothing. Records at the shop are curated to support locals’ interests. Some genres sold at the shop include honky-tonk, Texas garage rock, and indie vinyl. Owner Howard Lovell expanded his business after three years of selling vinyls at pop-up markets in Central Texas across the Hill Country and in Austin. Lovell told MySA he chose to set up his shop in the Germantown because it was not only his home, but also for its community support.

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TVD Los Angeles

TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

After nine days I let the horse run free / ‘Cause the desert had turned to sea / There were plants and birds and rocks and things / There was sand and hills and rings

The ocean is a desert with its life underground / And a perfect disguise above / Under the cities lies a heart made of ground / But the humans will give no love

You see I’ve been through the desert on a horse with no name / It felt good to be out of the rain / In the desert you can’t remember your name / ‘Cause there ain’t no one for to give you no pain / La la la la la la…

La la la la la la La la la la la la. I’m driving through the canyon. Maybe I’ll head south or to Texas for SXSW? Likely Santa Calrita chasing baseball dreams.

Spring is trying to break. Clocks have pushed and birds are chirping. Although these days are indeed strange, we’re gonna drive like hell, reciting positivity and making new friends.

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The TVD Storefront

TVD Radar: Pink Floyd, Animals 2018 Remix
Blu-Ray/Dolby Atmos Mix in stores 5/17

VIA PRESS RELEASE | Warner Music, Sony Music outside of Europe, today announced the upcoming release of Pink Floyd’s Animals 2018 Remix – Dolby Atmos on Blu-ray and compatible digital platforms. This version will be available on May 17, 2024 and it is the first time the album will be available in Dolby Atmos.

Animals is the tenth studio album by Pink Floyd, originally released in January 1977. It was recorded at the band’s Britannia Row Studios in London throughout 1976 and early 1977, and was produced by the band themselves. The successful album peaked at number 2 in the UK and number 3 in the US and was recorded by band members David Gilmour, Nick Mason, Roger Waters and Richard Wright. The Animals 2018 Remix – Dolby Atmos, by James Guthrie, will be released on Blu-ray, which includes High Resolution Stereo and 5.1 Mixes alongside the 1977 Original Stereo Mix, and digitally. The Dolby Atmos mix goes beyond ordinary listening by immersing the listener in the music, revealing details with unparalleled clarity and depth. Listeners will feel like they are inside the song as music moves around and above them.

The album artwork has been reimagined especially for this release and presented in a digipak with a 16-page booklet, a sticker and a postcard. The front cover image still includes the iconic pig floating between two chimneys of the Battersea Power Station, conceived by Roger Waters. However, for this new release, the artwork has been re-created for the modern era by Storm Thorgerson’s Hipgnosis partner Aubrey ‘Po’ Powell and Peter Curzon from StormStudios, and shows the historic building as it looks now, complete with light projections, variations of which feature in the accompanying booklet.

The projections and graphics were mapped and designed by Peter Curzon for the launch of the 2018 Remix and the photography is by Rupert Truman and Benny Trickett with Aubrey Powell. The 2022 projections were executed by Pixel Arts and coordinated by Larmac Live.

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Graded on a Curve: Lightnin’ Hopkins,
Lightnin’ Hopkins

Remembering Lightnin’ Hopkins, born on this day in 1912.Ed.

Lightnin’ Sam Hopkins remains one of the crucial figures in the annals of the blues. By extension, he recorded a ton, and owning all his music will require diligence and a seriously long shelf. However, there are a few albums that are a must even for casual blues collectors, and his self-titled effort from 1959 is one of them. Recorded by historian Samuel Charters in Hopkins’ apartment while he played a borrowed guitar, it served as the door-opener to years of prominence. A highly intimate gem of nimble-fingered deep blues feeling, Lightnin’ Hopkins is available through Smithsonian Folkways, remastered from the source tapes in a tip-on jacket with Charters’ original notes.

To call Lightnin’ Hopkins the byproduct of rediscovery isn’t inaccurate, but it does risk stripping the contents of its unique story. Unlike Son House, Skip James, Bukka White, and John Hurt (all from Mississippi), Texan Hopkins had only been inactive for a few years when Samuel Charters found and recorded him in Houston, and if he’d been playing since the 1930s, he was still very much in his musical prime.

Hopkins debuted on record in 1946 for the Aladdin label of Los Angeles in tandem with pianist Wilson “Thunder” Smith, the partnership bringing him his sobriquet. From there, a solid decade of studio dates (and some R&B chart action) commenced; his additional sides for Aladdin fill a 2CD set, and the sessions for Gold Star take up two separate CD volumes. Additionally, there were worthy recordings for Modern, Sittin’ in With, and majors Mercury and Decca. 1954 brought a massive spurt of wild, highly amplified material for the Herald label; it contrasts sharply with the one-man circumstance of Lightnin’ Hopkins.

If commercial recording industry prospects had dried up by ’59 and Hopkins’ guitar was in hock, there was no trace of rustiness from inactivity, though the comfort level does increase as these songs progress (the bottle of gin Charters bought likely had something to do with it). What’s shared with his prior electric band stuff is a recognizable, eventually signature style based in the conversation between rural blues verve and more citified boogie motion (in this he shares much with John Lee Hooker).

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TVD Radar: The Podcast with Evan Toth, Episode 139: Narada Michael Walden

It’s always a pleasure to speak with musicians who seem to appreciate and absorb music on another level. Folks like this often see music in a way that regular music consumers might take for granted. After all, there is a real power in music, a force and strength that can alter our emotions in any which direction. Sometimes we forget this, and we just let the sounds that we’re listening to wash over us without thinking of the other dimensions that we might be missing.

The last time I spoke with someone who had a great deal of intensity over this subject was Carlos Santana. On this episode, I speak with a close friend and collaborator of his—a multi-instrumentalist who is a particularly amazing drummer and a multi-Grammy-winning producer whose No. 1 chart successes include Whitney Houston, Mariah Carey, Aretha Franklin and many others. We’re talking about Narada Michael Walden.

Walden has a new album available, it’s called Euphoria and on it you’ll hear his usual compositional and production craftsmanship, but you’ll also get the opportunity to scroll through the contacts on his phone, because many of his musical pals make an appearance: Stevie Wonder, Sting, and—of course—Carlos Santana. Euphoria finds the ever positive Narada Michael Walden creating music to move your body, but that also aims to ignite your spirit.

So, stop taking your music for granted. Especially that pop stuff you love to listen to with the windows down and your hair blowing in the breeze. There’s a reason that you feel that freedom in your soul while you’re driving to your grueling 9-5; it’s because the music that elevates you was crafted by folks who really care about how those tunes are to exist within the dimension you inhabit. You can thank guys like Michael Narada Walden for fusing his musical chops with his spiritual enlightenment to create a mini-vacation for you to take anytime you choose.

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:
Dredd Foole & The Din,
Songs in Heat

Mission of Burma were one of the best (and most abrasive) bands to emerge from post-punk Boston, and it’s a crying shame that their career was cut obscenely short in 1983 as a result of vocalist/ guitarist Roger Miller’s tinnitus. They left behind a 1981 EP and a 1982 full-length, and that would be all we’d have to remember their original incarnation by (they reunited in 2002) had they not, commencing in February 1982, done some moonlighting as the backing band for local berserker and future pioneer of the New Weird America movement Dredd Foole (aka Dan Ireton) under the name Dredd Foole & The Din.

If Mission of Burma tended towards chaos, they went right over the top as The Din. Lucky for us, especially given their singular lack of ambition—they never toured, and if you never lived near Boston you never heard ‘em—they left behind a number of recordings that constitute some of the most chaotic music of the era. And Dredd Foole & The Din’s output didn’t end when the Mission of Burma packed it in. No, Dredd Foole simply kept on going with the newly formed Volcano Suns, whose members included Mission of Burma drummer Peter Prescott, serving as the new Din.

My favorite of the Mission of Burma Din compilations is 2022’s Songs in Heat. The A side includes all of the songs they recorded at Radiobeat Studio on February 2, 1982, while the B side is made up of selected songs from a live show the band played at the Channel in South Boston on August 9, 1982. It’s a testament to the band’s commitment to the great unhinged that the studio recordings sound almost as Stooges-level feral as the live tracks. Foole and Mission of Burma obviously had their role models, including the Velvet Underground, the Stooges, and Pere Ubu, and they pay tribute to all three on the comp’s live tracks. They also, surprisingly enough, toss in a cover of the Animals’ 1967 classic “When I Was Young.”

Dredd Foole is not a polished vocalist. He’s a wild man with a hair up his ass and no particular interest in singing in tune. He sounds like a lot of people—my brother, who turned me on to them, gave me a laundry list that included “Nick Cave, Jeffrey Lee Pierce, the guy from the Cramps, Joy Division, maybe the Psychedelic Furs guy, and a few other people I can’t recall.” That sounds about right.

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A morning mix of news for the vinyl inclined

In rotation: 3/15/24

AU | Record Store Day Australia Unveils Stacked 2024 Local Release List: The Wiggles, Montaigne, Tasman Keith, and The Terrys. Following the success of last year’s event, where Aussie vinyl aficionados scrambled to get their hands on exclusive releases from Peking Duk, Ball Park Music, and more, this years Record Store Day promises to be even bigger. Set for Saturday, April 20th, Record Store Day 2024 is gearing up to celebrate the best of Aussie music with a lineup that reads like a who’s who of homegrown talent. From beloved icons like Dorothy the Dinosaur and The Wiggles to the new kids leading the pack, The Terrys, Montaigne, and Tasman Keith, the roster is busting at the gut with talent. But that’s not all! A special double LP compilation titled “Time Capsule: Australian Sounds 1985-1994” features the likes of Died Pretty, GOD, Magic Dirt, and more, offering a nostalgic journey through Australia’s musical history.

Northfield, MN | Vintage record store opens in downtown Northfield: Whenever customers walk into Verbena Vinyl, they’d better have enough time to browse the record crates, sit and listen to some tracks and banter about recordings and concerts with owner Victoria “Vicki” Scott. Scott, who opened the vintage record store at 419 Division St. S. in early January, said she’s pleased that Northfield once again has a record store downtown. Before the pandemic, the city, home to around 5,000 college students nine months of the year, had always supported a couple of independent record stores. “Currently, I’m it,” said Scott. “Except, of course, for some of the antique stores that sell old records and album covers.” In her two months of business, Scott said the weekday traffic has been a bit slow, but the weekend shoppers have more than made up for that. “I love that Northfield has a record store again,” said Katie Kes-Pick, a Northfield customer. “I’ve always had a small collection of vinyl that is now growing again.”

Glasgow, UK | Record shops of Glasgow: Remembering 8 of Glasgow’s lost record stores including Tower Records and Listen: Glasgow was recognised as the first UNESCO City of Music in 2008, with it having a vibrant music scene spread across the city which caters for anyone. A number of huge acts have been born in Glasgow with it being very little surprise that the city had some of the finest record shops going, throughout the decades. Bands such as Simple Minds, Primal Scream, Franz Ferdinand have all emerged from the Glasgow music scene with labels such as Alan Horne’s Postcard Records and Creation becoming legendary and writing their place in history. There has always been a desire in Glasgow for ‘new’ music as we continually search for tunes and artists that we are yet to fall in love with with some acts even giving performances at some of these locations or heading in for a browse themselves.

Minneapolis, MN | Lakota vinyl collector revitalizes Indigenous music, language one record at a time: Justis Brokenrope has collected vinyl by Native musicians for the past decade. Now he shares that music with the digital world. “You can listen to music nowadays without ever touching a CD, a record, or a tape,” said Brokenrope, who is Sicangu Lakota. “It’s just so digital and ubiquitous all the time. But to hold the physical thing and then to see yourself represented in that, and to see your community, your people, your family represented in that, I think that’s just so important for us.” A self-described shaggy-haired kid, Justis Brokenrope started collecting vinyl records near his hometown in rural Nebraska. As a young musician, he played in punk and metal bands touring the U.S. and Europe. He was in a record store in Providence, R.I., about ten years ago where he found a compilation record consisting of Indigenous North American music, and inspiration struck.

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The TVD Storefront

TVD Radar: Queen, Queen Rock Montreal 3LP, 2CD, double Blu-ray in stores 5/10

VIA PRESS RELEASE | Queen Rock Montreal captures the world’s most iconic rock band at the very peak of their live powers. Recorded in 1981 and recently released as a record-breaking digitally restored IMAX concert film, this landmark moment in the band’s history is now being released as both double Blu-Ray and double 4K Ultra High Definition packages, plus double CD and triple vinyl packages. Both come May 10th the band has announced.

Queen Rock Montreal presents Freddie Mercury, Brian May, Roger Taylor, and John Deacon at their most exciting and exhilarating. As Brian May puts it, this is Queen “live and dangerous.” Queen were on all-conquering form when they returned to Montreal, Canada for the fourth time in November 1981 to play two huge concerts at the 18,000-seat Forum.

This pair of Montreal concerts marked an historic moment for Queen. After their massive success in the 1970s, the band entered the ’80s bigger than ever, with the hugely successful The Game album producing their two biggest ever US singles in “Another One Bites The Dust” and “Crazy Little Thing Called Love” (both Billboard No.1’s), followed by the UK No.1 single “Under Pressure.”

Queen’s return to Montreal came after almost two years of touring, including their very first tours of South and Central America, which saw the band playing two nights at Sao Paulo’s Morumbi Stadium to more than 150,000 devoted fans. As a result, when the band arrived in Canada in November 1981 they were in electrifying form.

“Montreal is one of our favourite cities, it’s a great audience there, very full of energy,” says Brian May. “We’d played this particular venue, The Forum, several times before, and it was always full of really enthusiastic people giving us a lot of energy back.”

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The TVD Storefront

TVD Radar: Joe Cuba Sextet, Vagabundeando! (Hangin’ Out!) reissue in stores 5/10

VIA PRESS RELEASE | Craft Latino celebrates the 60th anniversary of the Joe Cuba Sextet’s classic Tico Records debut, Vagabundeando! (Hangin’ Out!), with the album’s first vinyl reissue in nearly 50 years.

Freshly remastered from all-analog sources, the 1964 LP is pressed on 180-gram vinyl and housed in a tip-on jacket, replicating the album’s original designs. Vagabundeando! features an all-star line-up of talent, including legendary Puerto Rican vocalists Cheo Feliciano and Jimmy Sabater, plus such fan favorites as “El Ratón,” “Nina Nina,” “I Need You,” and “Oye Bien.” Set for release on May 10 and available for pre-order now, Vagabundeando! will also make its debut in 192/24 hi-res digital audio. In addition, a Lemon Yellow color vinyl exclusive with an exciting bundle option that includes a commemorative Tico Records T-shirt is available for pre-order at Fania.com.

Celebrated conguero, bandleader, and “Father of Latin Boogaloo,” Joe Cuba (1931—2009) was a foundational figure in New York’s Latin soul scene. A native of Harlem, the Puerto Rican artist (born Gilberto Miguel Calderón) learned to play the congas as a teenager while recovering from a broken leg. Before long, the young percussionist was booking gigs across the city and, in 1954, founded The Joe Cuba Sextet.

Playing alongside such stars as Tito Puente, Machito, and Tito Rodríguez, Cuba and his bandmates quickly gained a following with their swaggering showmanship and stood out from their peers with their unique instrumentation choices—including adding a vibraphonist and doing away with horns (which was unheard of at the time).

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