TVD Los Angeles

TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

everyone loves you when you’re gone. / with five leaves left from the day / and no body wants to sing those songs / today it’ll be okay. / everytime your record skips / wish your drunk out of home / pushing and fighting with two fat lips / playing your fishes trombone / we’re all alone, cause no body cares. / so cmon love, cause no body wants to see you cry, kisses for the misses tonight.

Musically I’m all over the map this week. Old punk hippie indie sleaze baller. “Steady as I am.”

Last weekend my friend Archie and I rolled to SoCal’s latest festival No Values. Maybe for me it should have been called Nu Values. It was at the Pomona County Fairground and I’ve never seen such a big parking lot with so many fucking cars. They actually ran out of spaces by 4PM and had to park us on a race track! Although it was super long walk to the festival grounds, it was honestly pretty cool to drive and park on a raceway.

The festival-like week was filled with old friends. We watched our pals The Garden and found friends on the side of the stage watching The Damned. Some pals did a fine job playing in Iggy’s band, and Turnstile showed us why they are the rock band of the hour.

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TVD Live Shots:
Liam Gallagher, Cast,
and Villanelle at the
O2 Arena, 6/10

Liam Gallagher’s final night at the O2 Arena was a cacophony of nostalgia, bravado, and pure rock ‘n’ roll bliss. Let’s be honest; in the pantheon of rock icons, few can swagger like Liam. He’s the last of a dying breed—a rock star who doesn’t just walk the walk but struts it with a perpetual sneer and a parka that looks like it’s survived the Gallagher brothers’ infamous rows.

The Definitely Maybe tour is a celebration of an album that, for many, defined the ’90s. For those of us who grew up in the Britpop era, this tour is less about music and more about reclaiming our youth. And Gallagher knows this. He’s not just singing songs; he’s resurrecting an era. Every chord of “Supersonic” and every lyric of “Live Forever” is a time machine back to a decade when our biggest worry was which Gallagher brother would storm off stage next.

The O2 Arena, that monolithic testament to modern entertainment, was packed to the rafters with fans eager to relive the glory days of Britpop. The discomfort of standing for hours was worth it for a setlist that reads like a greatest hits album. Gallagher, never one to mince words, kicked off with “Rock ‘n’ Roll Star,” a song that’s less about rock and roll and more about Gallagher’s personal brand of cosmic ego. And we loved it.

The highlight, of course, was the full performance of Definitely Maybe. Let’s not kid ourselves, this album is the Holy Grail for Oasis fans. Tracks like “Up in the Sky” and “Cigarettes & Alcohol” were played with an intensity that felt both nostalgic and refreshingly raw. Gallagher’s voice, that iconic nasal drawl, was as sharp as ever. If anything, age has added a layer of gravel that suits the music’s anthemic quality.

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The TVD Storefront

TVD Radar: Neu Klang: The Definitive History
of Krautrock
from Christoph Dallach in stores 8/13

VIA PRESS RELEASE | “If you would like to know about some of the genre’s key players’ aspirations and motivations for their work then I can highly recommend this book to you.”Michael Rother, Neu, Harmonia, Kraftwerk

West Germany, 1968. Like everywhere else in the Western world, the young generation is pushing for radical change, still suffering the after-effects of the Second World War. Many stream out of the lecture halls and onto the streets. Some into the underground. And some into the practice basements, in search of the soundtrack of the movement.

The unique and adventurous sounds produced by German bands such as CAN, Neu!, Amon Düül, Popul Vuh, Tangerine Dream, Faust, Cluster, or Kraftwerk, now widely-known as Krautrock, are considered a blueprint for modern rock music.

In Neu Klang, Christoph Dallach interviewed its pioneers, including Irmin Schmidt, Jaki Liebezeit and Holger Czukay of CAN; Neu!’s Michael Rother; Jean Herve Peron and Hans-Joachim Irmler from Faust; Dieter Moebius of Cluster; Klaus Schulze of Tangerine Dream; Karl Bartos of Kraftwerk, Brian Eno and many others.

Their answers combine to form an oral history that points far beyond the individual band histories: on the one hand, into the past, to Nazi teachers, post-war parental homes, free jazz, terrorism and LSD; but just as much into the future, to global recognition, myth-making, techno and post-rock.

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The TVD Storefront

Graded on a Curve: Harry Nilsson,
Nilsson Sings Newman

Remembering Harry Nilsson in advance of his birthdate tomorrow.Ed.

In the first month of 1970, RCA Records released Nilsson Sings Newman, a collaborative album between one of the period’s strongest and most unique pop vocalists and a truly gifted if somewhat obscure songwriter known primarily for providing other artists with prime material. A theoretical perfect match; it’s therefore unsurprising that hardly anybody bought the thing when it first came out.

On a purely commercial level, Harry Nilsson is vindicated by his very fine version of superb singer-songwriter Fred Neil’s “Everybody’s Talkin’,” initially an album track given second life by its use in the epoch-defining New Hollywood film Midnight Cowboy, and by the smash success of his 1971 LP Nilsson Schmilsson, which rose to #3 on the Album Chart and wielded three Top 40 singles including a #1 in “Without You,” another cover via UK group Badfinger.

Considering Randy Newman through this same specifically commercial prism finds him justified not only through the sizable hits his songs provided for other artists, but also via his late-career transformation into a film-scoring juggernaut, though it bears mentioning that he had an unlikely and somewhat unrepresentative #2 hit with “Short People” in 1977. However, many also know him through the smaller, though much longer-lingering success of his biting tribute to Los Angeles, “I Love L.A.”

But if there is one thing that the careers of Harry Nilsson and Randy Newman share, it’s in the way they exploit the futility of judging an artist purely in terms of record sales. To do so with Nilsson is to depict an artist of fitful slow-growth potential finally scoring a breakout success with his seventh album (or ninth if you count his soundtrack to Otto Preminger’s eternally divisive hunk of weird-meat cinema Skidoo, where Nilsson actually sang the film’s end credits, and his early ’71 “remix” LP Aerial Pandemonium Ballet) and then going through a long, slow decline.

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The TVD Storefront

TVD Radar: The Podcast with Evan Toth, Episode 149: Molly Miller

Multitasking is a popular trend in musicianship today, but, like in other aspects of life, it has its critics. Those against multitasking argue that the human brain performs best when focused on one task at a time. Just because we can multitask doesn’t mean it’s the most effective approach. What if we devoted all our time and energy to a single pursuit instead?

Molly Miller embodies this principle through her lifelong dedication to the guitar. Proficient in its complexities, she not only creates music with the instrument but also shares her expertise with others. Her latest album, The Ballad of Hotspur, created with her trio, showcases her deep connection with 20th-century guitar music. With a jazzy, meticulously composed finesse, the album also highlights her role as a guitar instructor at USC’s Thornton School of Music.

Also explored is Molly’s upcoming tour with Jason Mraz, with whom she serves as guitarist, and her experiences managing her various guitar-related endeavors. The release party for her album is set for Sunday, June 16, at the Jazz Lounge in San Diego, CA.

Instead of trying to do everything at once, let’s give Molly the same focused attention she gives to her guitar.

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:
Pere Ubu,
The Modern Dance

Celebrating David Thomas on his 71st birthday.Ed.

1896 saw the premier of literary bomb-thrower Alfred Jarry’s play Ubu Roi, with its anti-hero Pere Ubu. The play promptly caused a riot, and Jarry—who once said “One can show one’s contempt for the cruelty and stupidity of the world by making of one’s life a poem of incoherence and absurdity” was undoubtably pleased. His goal—to the extent that he had one—was to see the hidebound and the conventional art of his time dead and buried. “Art,” he said, “is a stuffed crocodile.”

No one has ever accused Cleveland’s Pere Ubu of being a stuffed crocodile. The band that would make a virtue of clang and clamor rocketed from the tomb of the Mistake on the Lake’s Rocket from the Tombs, a promising band that collapsed over the usual creative differences.

Tombs’ members split into factions—David “Crocus Behemoth” Thomas and a collection of new players here, Stiv Bator and Company’s Dead Boys (originally Frankenstein) over there. (A third band, Friction, which was fronted by Rocket linchpin Peter Laughner, would collapse without recording an album after he rocketed his way into his own tomb at the ripe old age of 24, the result of booze and drugs.) Pere Ubu and the Dead Boys couldn’t have been more different. The latter band fit comfortably into the Heartbreakers and Richard Hell and the Voidoids mold; Pere Ubu followed their namesake straight into the revolutionary absurd.

Thomas’ notion was to create a clamorous and fractured sound, and to do so he enlisted an initially reluctant Alan Ravenstine, whose synthesizers, atonal saxophone, and innovative tape manipulation techniques spelled the difference between Pere Ubu and its contemporaries. The result was the band’s 1978 debut The Modern Dance—arguably the most innovative LP to emerge from the post-punk era.

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A morning mix of news for the vinyl inclined

In rotation: 6/14/24

Sussex, UK | West Sussex record store opens second branch in ‘up and coming’ town: The ‘happy coincidence’ of vinyl having a resurgence in recent years led a Steyning record shop owner to open a second branch in Shoreham. James Anderson’s second Slipped Discs store opened in Shoreham High Street in April, and since then has been attracting a steady stream of customers. James said: “It’s going well, we have a lot of interest locally. I was looking to expand and the right opportunity came up in a very prominent part of the high street. It’s an up and coming area, and the prospect of more property being build means there’s an increased customer base. “The demographic is quite different between the two shops. In Steyning, it’s a slightly older community and the tastes are quite different. In Shoreham, we’re experiencing more sales of hip hop, dance and heavy metal. It’s certainly a younger crowd, so teenagers and above.”

Madison, WI | Robert Plant surprises Madison record store with a visit: ‘It was all very fun and exciting and completely unexpected.’ A Madison record store owner had an unexpected visitor earlier this week when Led Zeppelin frontman Robert Plant walked into B-Side Records on Monday afternoon. Plant “kind of gave me a glance as he walked by. And I recognized him but didn’t say anything,” owner Steve Manley recalled. “So, he just went to the back of the store and started browsing, and I left him alone.” After about 20 minutes, Plant approached Manley again. He wanted to know what was playing over the store’s speakers. It was the 2023 LP “The Window” from Chicago indie group Ratboys. Manley posted what happened next on Facebook: Plant bought the Ratboys record on vinyl and posed for a picture. “Excuse us while we calm down,” Manley wrote underneath.

Dayton, OH | Blind Rage Records has three powerhouse shows on deck: Blind Rage Records, dubbed “Dayton’s Third Best Record Store,” is hosting three in-store events in the coming weeks. First up, a show to celebrate the release of hardcore punk’s Body Farm’s (OH/PA) and Dry Socket’s (Portland, OR) 17-song split LP, ‘BODY // SOCKET,’ on Friday. Get a taste of the split’s past-paced high energy with “Endless Psychosis” and “Abomination,” the lead singles from the album, released in May, from Blind Rage Records and King of the Monsters Records. Also, check out footage from “Baja Blast 2,” Body Farm’s DIY show in a Cleveland Taco Bell parking lot, from this past April. A pre-show yoga session will be offered by naMOSHte for donation in-store (and on-sidewalk, if there’s an overflow). Some good ol’ Midwest moshing will likely occur — it’s best to prepare for these things, so BYOM (bring your own mat).

Sequim, WA | Sequim Record Show spins a hit in second year: Music enthusiasts packed the Guy Cole Event Center once again on Saturday for the Sequim Record Show. About 50 vendors offered new and old vinyl records alongside some CDs and cassette tapes on June 8. Event founder/organizer Gary Butler said the show had a better vendor turnout than its first year and sales seemed to be better too. Butler “definitely” plans to do it again next year, he said.

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TVD San Francisco

TVD Live Shots: 
Frank Turner & The Sleeping Souls, Amigo the Devil, Bridge City Sinners, and Micah Schnabel & Vanessa
Jean Speckman at the Regency Ballroom, 6/10

Frank Turner is touring North America in support of his tenth album, Undefeated, along with a killer lineup of musicians featuring Amigo the Devil, Bridge City Sinners, and Micah Schnabel & Vanessa Jean Speckman.

One might question the wisdom of hosting a 4-band show starting at 6:30PM on a Monday night, but when Frank Turner is personally curating the lineup you make it a point to get there early. Indeed, by the time opener Micah Schabel took the stage there were a surprising number of folks already filling the general admission floor and they kept arriving in a steady flow in as Vanessa Jean Speckman joined him.

While oriented around singer/songwriters, the lineup was admittedly eclectic. How so? Look no further than satanic folk punkers Bridge City Sinners. No stranger to San Francisco’s Regency Ballroom, the Portland quintet got the crowd moving and singing along to their entire set including a few tunes from their upcoming release as well as an unnamed and unreleased song before which Libby Lux implored the crowd not to film.

With the crew making quick work of the stage, Amigo the Devil was already on the stage by 8PM and launched right into “Small Stone.” It was clear from the get-go that San Francisco loves AtD and that the feeling was mutual. The entire set turned into a massive sing-along with the crowd hanging on every word, from new tunes “My Body Is a Dive Bar” and “Crying at The Orgy,” the latter of which appeared to have been slipped into the set at the last minute as his time ran out. For a while there it was easy to forget that Amigo was not the headliner!

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The TVD Storefront

TVD Radar: Star Trek Into Darkness (Deluxe Edition) 3LP from Michael Giacchino in stores 9/6

VIA PRESS RELEASE | Varèse Sarabande and Craft Recordings announce the first-ever vinyl release for Michael Giacchino’s expanded Deluxe Edition score for J.J. Abrams’ Star Trek Into Darkness.

The expanded Deluxe Edition version of composer Michael Giacchino’s score for the film arrives on vinyl as a 3-LP Blue, Red, and Yellow set themed after the iconic Starfleet uniforms. The collection comes housed in a premium slipcase with a Starfleet Insignia-shaped cut-out, allowing fans to pick their own cover image, and includes a 16-page booklet with behind-the-scenes photos from the set and notes from J.J. Abrams and Michael Giacchino. Releasing September 6th, and available for pre-order now, the 3-LP tricolor set (limited to 1,000 copies) will be available at retailers in North America, while a Translucent Clear set will be available for the rest of the world.

Into Darkness is the 12th installment in the Star Trek franchise and the sequel to the 2009 film Star Trek, as the second in a rebooted film series. The returning cast of Chris Pine, Zachary Quinto, Simon Pegg, Karl Urban, Zoe Saldana, John Cho, Anton Yelchin, Bruce Greenwood, and Leonard Nimoy reprised their roles from the previous film, joined by Benedict Cumberbatch as the legendary Star Trek villain Khan. Set in the 23rd century, the film follows Captain Kirk and the crew of U.S.S. Enterprise as they are sent to the Klingon home world seeking a former Starfleet member-turned-terrorist, John Harrison.

The film was a financial success and received positive reviews from critics. Its gross earnings of over $467 million worldwide made it the highest-grossing entry in the Star Trek franchise. The film was nominated for Best Visual Effects at the 86th Academy Awards. One of Giacchino’s main tasks with the film was to evolve the themes from the previous installment and create new ones to reflect the film’s darker tone.

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The TVD Storefront

Graded on a Curve:
Slade Alive!

Celebrating Jim Lea in advance of his 75th birthday tomorrow.Ed.

You can forget all about Kiss Alive! because Slade’s Slade Alive! is the real thing–a gut-bucket blast of pure rock ‘n’ roll energy from the poorest spellers in the history of music. This 1972 studio live affair captures this band of Wolverhampton rowdies at their rawest, and the spirit of raucous fun is contagious.

This baby was released before Slade reached full maturity and here’s how you can tell–there isn’t a single spelling error on it. And here’s another way you can tell–four of its seven cuts are covers, and the other three you probably don’t know.

The foursome’s subsequent release, 1972’s Slayed?, cemented the band’s reputation as Top of the Pops hit makers, but on Slade Alive! they established their bona fides as a formidable live act–one that pitted musical brutalism against vocalist Noddy Holder’s formidable tonsils and crowd-rousing charisma.

Slade gets filed under “Glam,” but theirs was an awkward fit. They looked ridiculous in their glitter clobber–like a bunch of roofers playing dress up–and unlike most of their Glam contemporaries appealed directly to England’s working stiffs.

Their proto-Oi! placed pints above androgyny, and their audiences did the same. When Noddy Holder says, “All the drunken louts can shout anything they like” he’s talking to the entire crowd, and not just a couple of unruly yobs.

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The TVD Storefront

TVD Radar: Idaho,
The Devil You Know [1992–1996] 4LP box
set in stores 10/25

VIA PRESS RELEASE | The groundbreaking legacy of slowcore pioneers Idaho will be celebrated with The Devil You Know [1992-1996], a landmark four-album five-disc Deluxe Limited-Edition Box Set featuring vinyl reissues of the band’s long-out-of-print and highly sought-after first three records (originally released on Caroline/Capitol) with an exclusive bonus disc of hard-to-find material comprised of EPs and 7”s from this seminal era. The Devil You Know [1992-1996] arrives via Arts & Crafts on Friday, October 25. Pre-orders are available now.

Led by Laurel Canyon-based singer-songwriter Jeff Martin, Idaho are the unsung cult heroes of ’90s slowcore. Though they are often grouped amongst post-grunge indie rock pioneers like Low, Songs: Ohia, and Codeine, Idaho is distinguished by the desert atmospherics of Martin’s four-string guitar, echoing out his elegant songcraft in a canyon of alien tones and melancholic feedback.

The Devil You Know [1992-1996] now arrives at an apex moment for Idaho, following the recent premiere of the career-spanning feature documentary, Traces of Glory: The Musical Journey of Idaho (available now via Good Deed Entertainment exclusively on Prime Video and Apple TV) and the acclaimed arrival of Lapse, the band’s first new album in 13 years. The Devil You Know [1992-1996] preserves an era of a band poised to defy the constricts of expectation, laying the groundwork for rebelliously slow and beautiful music entirely their own, sustaining Idaho’s everlasting interplay with their particular muse, as they churned out album after album (after album) of singular grit and guttural beauty.

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The TVD Storefront

Graded on a Curve:
Will Gregory Moog Ensemble, Heat Ray

Likely best known as half of Goldfrapp, Will Gregory has amassed a considerable list of credits since the early 1980s. Although extant since 2005, the Will Gregory Moog Ensemble is just now entering the man’s proper discography with Heat Ray – The Archimedes Project, which is due June 14 on LP, CD, and digital from Mute Records. Recorded with the BBC National Orchestra of Wales, the work’s ambitiousness, fitting for its inspiration, avoids any nagging retro middle-of the-road-isms while embracing the recognizable sound of Moog synths in their numerous makes and models.

Moog synthesizers….people love to play them! That includes Graham Fitkin, Hazel Mills, Vyvyan Hope-Scott, Ross Hughes, Daniel Moore, Hinako Omori, Adrian Utley, Eddie Parker, John Baggott, and Simon Haram, all members of the ensemble given consideration here, and of course, Will Gregory. Minimoog is the dominant model (ten are utilized for this album), though Fitkin plays a Moog Voyager and Moore is credited with a Moog Sub 37.

The non-Moog analogue synths include Mills playing a Prophet 6, Omori a Prophet 8 and OB6, Parker a Roland JX-3P, Hughes a Roland Promars Compuphonic MRS-2, and Ruth Wall a Korg 700s. In addition to synths, Gregory plays Mellotron, Hughes plays flute and bass clarinet, Haram blows a EWI (yes, technically a synth), and Harriet Riley handles marimba, snare, and bass drum.

The breadth of instrumentation here is appropriate for the orchestral scope of Gregory’s compositional tribute of the third century BC Greek mathematician, though the program doesn’t open with grand classical sweep. Instead, and naturally given the ensemble’s concept, “Young Archimedes” travels smack dab into the Moog zone, and with impressive results.

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A morning mix of news for the vinyl inclined

In rotation: 6/13/24

Sacramento, CA | This Record Store Promises Good Fortune: A profile of Sacramento’s own Delta Breeze Records. Nestled under the tree canopy of downtown Sacramento, Delta Breeze Records is the janky little used record store for the heads who collect classic rock, soul, modern funk and disco, and jazz. While all record stores have a recognizable musk, Delta Breeze’s fragrance in the ground-floor of a 100-year-old Victorian duplex is complemented with the aroma of fortune cookies baking next door. The owners even keep a bowl of cookies by the counter to take. And if “janky” seems like a jab at the store, it’s important to know the term is a badge of honor in Sacramento. Originally established in West Sacramento in September 2014, the owners Ben Johnson and Rick Daprato moved the operation in 2017.

Dallas, TX | You can watch an immersive stage play at Good Records this month: Playwright Bob Bartlett wrote Love and Vinyl as a small-scale romance set in a record store. Its main characters, best friends Bogie and Zane visit their local shop and and “leave with so much more than a stack of vinyl.” Most plays are made for the stage, but why create a set of a local record store when there’s countless shops around the country already built? Our neighborhood favorite Good Records has more character than any theater set could. For the rest of June, you can watch the story of Bogie and Zane unfold around the Alice Cooper and Polyphonic Spree iconography that so memorably coat the walls at Good Records. The residency is presented by Kitchen Dog Theatre and directed by co-artistic director Christopher Carlos. Performances take place at 8:00 p.m., Wednesday through Sunday until June 23.

Bengaluru, IN | Music experience space coming up on M G Road: Avial, the popular Kerala-based folk-rock band, will be the first to perform at the store at the inauguration on Saturday. A popular music store on M G Road is opening a larger space right next to its original location, which it has occupied for over 40 years. Ram’s Musique, in the Public Utility Building, takes you back in time, with shelves stacked with thousands of vinyl records in sepia-toned sleeves. The new store, named Rams Musique Experience, aims to generate interest in vinyl records and highlight their relevance in current music culture. It is set to open its doors on June 15. Ramachandran, fondly known by his peers and customers as ‘Music Ram’, is launching the establishment with his son Sangeeth Ram. “We wanted to create a space for vinyl record lovers and hobbyists, to come and experience the music and equipment before making a purchase,” says Sangeeth.

Atlanta, GA | Vinyl and Wine Go Hand In Hand at Commune: Atlanta’s newest listening bar spins records with a wine list to match in Avondale Estates. The vibe at Commune, an intimate new wine bar and listening lounge at Olive & Pine in Avondale Estates, mixes the secrecy of a speakeasy with the informality of a friend’s record-lined basement. Patterned quilts line the walls, accompanied by vintage artwork and local designs. The sound system is perfectly tuned and a lack of windows lets you lose yourself in the music as you sink into one of the cognac-colored booths. Listening bars are part of a growing trend of similar destinations popping up nationwide, including here in Atlanta. Victory Coffee in Inman Park transformed into Stereo earlier this year, and later this summer Atlanta DJ Ree de la Vega is expected to open Pisces, a music-driven restaurant at the Sound Table space.

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The TVD Storefront

Graded on a Curve: Françoise Hardy,
The Disques Vogue Collection

Remembering Françoise Hardy.Ed.

French vocalist Françoise Hardy openly disdains being described as an icon, though of course her modesty plays a large role in why she continues to be revered by so many. Naturally, the most important component in her enduring reputation is the music; a superb singer and true artist from within the oft-unrelenting 1960s pop machine, her records have aged exceptionally well, retaining the allure of their era as they lack period gaffes. Hardy’s first five French language albums, all originally issued by Disques Vogue from ’62-’66, comprise a highly worthy run of productivity.

Françoise Hardy is a cornerstone of the ’60s Euro-pop phenomenon known as yé-yé. Akin to rock, girl groups, svelte male crooners, and the majority of the era’s teen-oriented sounds in general, yé-yé was widely considered to be of an ephemeral nature, and by extension was basically dominated by the collusion of producers and labels. The singers, amongst them France Gall, Sylvie Vartan, Clothilde, and Chantal Kelly, were the crucial ingredient in a very calculated recipe.

Hardy differed from the norm by writing a significant amount of her own stuff, all but two songs on her debut in fact, and as a result she evaded the sometimes embarrassing subject matter thrust upon other yé-yé girls. Furthermore, she was regularly photographed with guitar in hand, though it’s unclear to what extent she actually played on these recordings. To borrow a phrase relating to Studio-era Hollywood, Hardy transcended the “genius of the system” method of pop manufacture, instead excelling at a subdued auteur-driven approach.

In the tradition of the original filmic auteurs, few recognized Hardy as a major talent during her emergence on the scene. She definitely sparked interest in fellow musicians however, including The Beatles, Mick Jagger, and Bob Dylan, the last so struck by her skills he dedicated the poem “Some Other Kinds of Songs” to her; it’s on the back of Another Side of Bob Dylan’s sleeve.

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The TVD Storefront

TVD Radar: Marc Maron, From Bleak to Dark vinyl debut in stores 7/26

VIA PRESS RELEASE | Craft Recordings is proud to announce a vinyl release for Marc Maron’s acclaimed HBO stand-up special, From Bleak to Dark. Available for pre-order today and set to debut on July 26th, the legendary comedian, actor, and podcaster’s fifth stand-up special (and first for HBO), which premiered on HBO and is now streaming on MAX, found Maron getting more personal than ever.

In the years between his last special, 2020’s Marc Maron: End Times Fun (Netflix) and From Bleak to Dark, Maron’s world was turned upside down. Between a global pandemic, political upheaval, and the sudden loss of his partner, there certainly wasn’t much to laugh about. Yet, Maron—who has amassed millions of fans for his stark honesty, pathos, and cynicism (both on stage as well as through his landmark podcast, WTF with Marc Maron)—was well-equipped to tackle the most difficult moments of his life through humor.

Written and performed by Maron and filmed in front of a live audience at New York City’s Town Hall, the hour-long special finds the comedian covering a wide breadth of material—from the perils of aging and the superiority of having cats over children to antisemitism and faith. In some of comedy’s most disarming and candid moments, Maron speaks about the death and grief while opening up about re-establishing his complicated relationship with his father, who suffers from dementia.

Produced by Avalon (Last Week Tonight with John Oliver, Starstruck) and executive produced by David Martin, Kelly Van Valkenburg, and Maron, From Bleak to Dark received wide acclaim upon its premiere. Margaret Lyons at The New York Times praised, “What’s most potent here is the sense of consideration, of evolution, and Maron incorporates his redrafting process into the act itself. The special is indeed both bleak and dark, and it is also viciously funny.”

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