In February of this year we were on the road with two great bands, Editors and The Antlers. I thought it would be a cool idea to buy at least one record in every city that we played in.
Our first show was at the Warfield in San Fransisco. We all decided to check out the famous Ameoba Records on Haight St. I picked up The Velvet Underground (self titled), CCR Chronicles Vol. 2, and a Duane Eddy album. I was inspired to get the Duane Eddy album from my uncle who I met on tour for the first time in Tulsa, Oklahoma.
After a long morning of playin old tapes in the garage and singin songs, he scared us all away after he busted through the door with his revolver and said “If you really wanna get serious, this will bust a hole in an engine block!”
Some of the other great records I picked up along the way are ‘Tattoo You’ by the Stones and ‘Hospice’ by The Antlers. —Erick Eiser, Keyboards, Guitar
The Dig’s Top 20 Tracks Right …Now: 1. Ebony Eyes – Stevie Wonder 2. Don’t Fence Me In – Bing Crosby 3. Shop Around – Smokey Robinson 4. Poison Cup – M. Ward 5. She’s Not There – The Zombies 6. Tomorrow In Her Eyes – Ron Sexsmith 7. Yer Blues – The Beatles 8. So Far Away – Dire Straits 9. Going Home – Dan Auerbach 10. Can’t Control Myself – The Troggs 11. For Your Precious Love – Otis Redding 12. Hell is Chrome – Wilco 13. Drain You – Nirvana 14. All I’ve Gotta Do – The Beatles 15. No Particular Place To Go – Chuck Berry 16. No Fun – The Stooges 17. Ape Man – The Kinks 18. Miss Maybelle – R L Burnside 19. Come On In My Kitchen – Robert Johnson 20. Make You Feel My Love – Bob Dylan
There really is something about Memphis and Ardent Studios. Driving east on Madison from downtown, the same street Ardent Studios is located on, I pass some of my favorite places in the world: The P and H Café, Murphy’s, the old Antenna, Minglewood Hall, the BBQ Shop, Pho Hoa Bin, Zinny’s, The Lamplighter, Fino’s, Boscos (mmmmmm stock Ale…..), The Blue Monkey, and Kwik Check. I have been lucky enough, many times in fact, to enjoy my “Turk that was Greek” sandwich at Kwik Check, then walk across the street to the world famous Ardent Studios.
I have had the pleasure to work in Studios A, B and C with many different bands and with many amazing producers and engineers. Back in 2001, my band Snowglobe mastered our first full length record with Larry and Kevin Nix. Over the years I have recorded piano, guitar, vocals, and crazy noises both on my own and other folk’s records at Ardent. Back in 2007, Ardent started doing something known as the Ardent Sessions. My bands Oh No Oh My and Antenna Shoes have both been invited to record episodes.
The Ardent Sessions is awesome. It allows a band to play a show in front of their fans, and have that show be recorded with incredible microphones and the best new and old recording gear. With Alan Burcham behind the desk, placing guitars through the Neve preamps, and Fairchild compressors, sometimes I just want to cry. It’s so beautiful. As musicians you have pressure to perform the material live for the audience, with an extra pressure that the performance is being recorded. I think that with the right mix of pressure, magic is made. I am very happy to have been a part of the magic that has been made at Ardent Studios throughout the years. This episode was extra special because we shared the episode with our good friends from Knoxville, Royal Bangs. Nice.
BTW, our new 7 inch contains two songs off of our upcoming full length record ‘People Problems.’ The songs are “Brains” and “Walking Into Me:”. They were recorded at Jim Eno’s Studio Public HiFi in Austin Tx. We like them a lot. We hope you do too! —Tim Regan
Pick up the new 7″ and other great merch from Oh No Oh My here.
Enter to win Oh No Oh My’s 7″ above by simply leaving a comment, your name, and a contact email address in the comments to this post. We’ll choose one winner each Friday for that week’s giveaway which ALSO includes the entire Ardent Music catalog. (That’s just 2 artists at this point, but hey, who’s counting?)
To hear more great Ardent Sessions please visit Ardent Presents.
Rhode Island native and Simple Machines alumnus,Alex Kemp underscores a notion we underscore often ourselves: music distribution is best served via a tangible, physical, and personal medium, whether it’s on vinyl or (gasp!) …CD.
“When I first started putting out music, bands were doing a lot of 7” singles. I think we did about 5 of them, and I loved that format—big enough for some artwork, small enough to fit in a back pack, cheap-ish to make and the turn-around was relatively quick: you could have your song on a single in about 6 weeks.
With the new RAT D’HOTEL CD/EP series, we’re trying to get the same emotional quality of handing someone a 7″—that “hey, we just made this, check it out” feeling that’s so awesome. But also, we wanted to continue the spirit of the democratic nature of the 7″: that everyone could afford it and enjoy it. Now that vinyl has started to take on a premium, high end connotation, and not everyone has a record player, it simply doesn’t have quite the same “medium-for-the-people” presence that it used to.
So, that’s the thinking behind the series of hand numbered, hand screened, individually treated CD/EP series. The second one (called ‘Rat Hears Love Through Thin Walls’) is coming out in the next few weeks. I hope I get to hand you one personally, because that’s the way they were meant to be delivered!“
And we have one to deliver to you. Personally. Enter to win ahand numbered, hand screened, individually treatedRAT D’HOTEL CD/EP by leaving a comment to this post. The most effusive and well, personal one will find the CD in his or her mailbox. Remember to leave us some contact info(important!) and we’ll choose a winner one week from today, 6/17! Alex Kemp – On Your Side (Mp3) Approved for download!
If there’s another band out there with a smarter or stronger set of influences, they haven’t crossed my path lately. And we’ve got an opportunity for you to take home said band’s debut 7″ and catch them live this coming Saturday night (6/12) at the Black Cat.
“The Cheniers are an Arlington-based trio that plays simple songs. There aren’t too many parts. There’s a lot of repetition, a fair amount of distortion. It’s definitely indie rock. It might be lo-fi, but not really intentionally so. But not unintentionally, either. Does that even make sense?
Main inspiration comes from old New Zealand bands from 30 years ago – The Clean, The Doublehappys, Toy Love. The B-side of the The Cheniers’ debut 7″ is basically a straight rip-off of a song by the Doublehappys, in fact. Don’t tell Shayne Carter. Or, tell him and see if he wants to fly us down to New Zealand to play with Dimmer. That 7″ is out right now in Windian Records, the fantastic D.C. punk label, and will be available at the Black Cat on June 12.
Oh, and The Fall is another very major reference point. The first song on the A-side of the single, “45 Days,” is very much indebted to “Grotesque”-era Fall. (Probably the best Fall era, FWIW.) The other song on the A-side, “Here Comes Trouble,” is most people’s favorite. Probably because it’s about drugs and has a saxophone on it. It’s hard to argue with that combination, admittedly.
Another fun fact about this record – all of the art was done by David Berman. He was in Silver Jews, kind of the greatest band of all time. He also does neat drawings.”
And yes, we’ve got the aforementioned Windian 7″ and a pair of tickets for one winner for Saturday’s show in exchange for your well-referenced pleas in the comments to this post.
Plead your case. Drop some salient names. Reference a thesaurus. We don’t care. Just make it good and make it before 5PM this Friday (6/11) and we’ll put it together for you. Just like you expect—and remember to leave us some contact info!
As we mentioned this morning, The Dig’s‘Electric Toys’ hits your local record store shelves today and the band has come up with a pretty unique way to give a few away and to see them live.
On them. And on us. In your town and venue of choice.
Fresh off a string of dates with The Joy Formidable, The Dig are gearing up for a tour with Thrice, Bad Veins and Kevin Devine this summer with 28 dates in 28 different cities.
Typically we offer tickets for the DC-area date alone, but we’re opening up the entire itinerary for you to chose the city in which you want to see the band.
Reading TVD in Philly? Enter to win tickets for the Trocadero show. Maybe you’re in Orlando? Enter to win tickets for the House of Blues show. Anywhere the band is playing, you can enter to see them live in your city of choice.
The full list of tour dates to choose from are:
June 11 – St. Paul, MN – Station 4 June 15 – Toronto, ON – Phoenix Concert Theatre June 16 – Montreal, QC – Le National June 17 – Boston, MA – House Of Blues June 18 – New Haven, CT – Toad’s Place June 19 – Lancaster, PA – Chameleon June 21 – Clifton Park, NY – Northern Lights June 22 – Allentown, PA – Crocodile Rock Café June 23 – Philadelphia, PA – Trocadero June 24 – New York, NY – Fillmore At Irving Plaza June 25 – Sayreville, NJ – Starland Ballroom June 26 – Towson, MD – The Recher Theatre June 28 – Norfolk, VA – The Norva June 29 – Carrboro, NC – Cat’s Cradle June 30 – Charleston, SC – The Music Farm July 1 – Orlando, FL – House Of Blues July 2 – Ft. Lauderdale, FL – Revolution July 3 – St. Petersburg, FL – State Theatre July 6 – Houston, TX – Warehouse Live July 7 – Austin, TX – Emo’s July 8 – Dallas, TX – The Palladium Ballroom July 9 – Tulsa, OK – Cain’s Ballroom July 10 – Kansas City, MO – Midland Theatre July 11 – Denver, CO – Ogden Theatre July 13 – Salt Lake City, UT – In The Venue July 15 – Tempe, AZ – The Marquee July 16 – San Diego, CA – House Of Blues July 17 – Pomona, CA – Fox Theater
So, how do you win the tickets and the new ‘Electric Toys’ you’re asking? It’s simple.
In the comments to this post, tell us the city and venue you’d like to see the band in and why we should select you and your city of choice. The one person with the most convincing entry will see the band in the venue and town they’ve selected and will be sent the new ‘Electric Toys’ on vinyl.
Three runners up will receive a CD copy of ‘Electric Toys’ into the bargain!
We’ll choose the winners on Monday (6/14) by noon and I can’t stress this enough—leave us a contact email address!Good luck!
Tom Petty and the Heartbreakers return with two new videos for the driving “Jefferson Jericho Blues” and the gorgeous “Something Good Coming,” both on the new album Mojo out June 15.
The band play the oddly named Jiffy Lube Live on August, 15.
New column! Our friend Allyson delves into the miasma of Twitter’s #musicmonday (on Tuesdays) because nothing says “listen to my music” like a trending topic.
Be afraid Justin Bieber. Be very afraid. —Ed.
Sunday was the MTV Music Awards, yesterday was Prince’s birthday, the new Twilight soundtrack just debuted, Lady Gaga is pushing a new video…and people on Twitter are broadcasting crappy alt-rock from the ‘90s.
Not just alt-rock. Nu-metal. Is there a revival? Am I missing it? (Please let me be missing it.) Nickelback, Incubus, and Linkin Park are popping up all over #musicmonday.
None of these bands has a new album out—in fact, Wikipedia thinks the members of Incubus have been threatening each other and taking out restraining orders. Nickelback is touring but their last album came out in 2008, according to their official site. Linkin Park seems to have been busy getting an awesome logo and putting out charity albums. I suppose I underestimate the endurance of people’s love for (and willingness to publicly proclaim their love for) these bands.
It’s just civilians doing all this nu-metal tweeting—not promoters or band members, near as I can tell. @giasee and @brownoso seem like normal folk, and are both listening to tons of Nickelback. This is kind of cute actually—they both tweeted all their songs at about the same time of day. In my mind, each is a gender that the other is attracted to, and they are otherwise compatible in important ways, and they’re soul mates and will someday discover that they’ve been simultaneously broadcasting their love of awful nu-metal and run away together.
Similarly @_Maryta_ and @jhoncubus are both #musicmonday-ing the heck out of some Incubus and are probably going to be ‘90s alt-rock married soon. (I checked, @jhoncubus doesn’t appear to be affiliated with the band, despite having part of their name in his name. I have part of Weird Al’s name in my name, so I should know that this doesn’t have to mean anything.) The Incubus romance might get a little kinky, actually: @ignachoenpiedra was also listening. Hot.
Full disclosure: I owned and listened to the Make Yourself album in high school. But unless Incubus suddenly begins making female-fronted garage-revival rock (which is basically all I listen to at the moment, because…I don’t know why, actually) you will never ever see me telling my entire Twitter feed that I’m currently listening to them.
@mrnicehandle, whose username I like enough to consider asking him to be my Twitter friend, is listening to Butterfly, by Crazy Town, otherwise known as “the song I declared the worst song in the world when it came out in 2000 and might still think is the worst song in the world now that @mrnicehandle has gone and gotten it stuck in my head.” Thanks @mrnicehandle. We’re not imaginary friends any more.
Role#mmodel: @Duarys told the world that he was listening to Kiss From A Rose (acoustic) by Seal. That takes moxy. I’m glad to know there are people in the world who don’t care what jerks like me think about them.
My #musicmonday pick: If I’m going to make fun of other people, I have to open myself up to mockery. This should be good fodder: I’ve been listening to the new Gaslight Anthem album streaming on NPR all day. No, really. All day. Fire away.
…annnd we’re back from a brief birthday hiatus on the very day The Dig release the brand new, highly recommended, ‘Electric Toys.’
To herald the release we’ve got the boys hanging out and blogging with us all week—talking vinyl, record stores, and everything in between. And of course we’ve got some opportunities to win copies of ‘Electric Toys’ and tickets to see the band live later today.
For now, sit back and relax—the band’s in the driver seat. It’s The Dig’s Vinyl District—we just work here. —Ed.
“I started a record collection not too long ago. I remember buying CD’s growing up. I would go to the Punk Rock section of my favorite record store (The Record Alley, in Palm Desert California) and pick out a band that I’d never heard of; try to find something that jumped out at me.
Usually the band was awful, but because I spent at least $10 on the CD, I’d convince myself I liked it. CD’s have a sentimental value to them. You can explore the lyrics and artwork and it affects the way you hear the music.
Vinyl is even more powerful in this way. One of my favorite records that I’ve been listening to non-stop is a Best Of record by the Ventures. I love listening to their songs on vinyl because it brings out a rawness in their music. I’d really like to come across a live Ventures record….know of any I should check out?“ —Erick Eiser, Keyboards, Guitar
“I was really young (maybe 5 or 6) and found a bunch of my dad’s 45s in an old coffee table drawer. I quickly ran to the record player to play them and I remember the one that stuck out to me the most was a Hall & Oates record which had the song “Private Eyes” on it. Great song.
I remember the sound, the music and the rhythm of that track always grabbed my attention. Lots of great hooks, killer guitar solo that I still remember. Didn’t really understand what the lyrics meant but they were simple and catchy and easy to sing along to. I’ll never forget that experience.” —Jamie Alegre, Drums
Our pal Jeff from AM, Then FM returns this morning with another dip into our favorite bag o’ nostalgia. —Ed.
Elton John has, of late, been enjoying a small renaissance of sorts at certain lightly traveled corners of the Internet.
Our friend JB at The Hits Just Keep On Comin’,recently wrote about the memorable last cut from John’s 1975 album, “Captain Fantastic and the Brown Dirt Cowboy.” That came about the same time I saw John play live. After that show, in which he played nothing from “Captain Fantastic,” I weighed in at The Midnight Tracker, serving up Side 2of that album.
“Captain Fantastic” came out just as I graduated from high school in 1975. It’s all about writing, telling the story of how John and lyricist Bernie Taupin struggled as they got started in London in the ’60s. That was pretty appealing to a kid who wanted to be a writer.
Last week, our friends at Popdose put some of John’s overlooked gems in their “Greatest Bits” feature. I thought sure there would be something from “Captain Fantastic,” but no.
So have you heard it? No? Perhaps that’s because “Captain Fantastic,” released at the peak of John’s early fame in late May 1975—a record that debuted at No. 1 in the U.S. charts—yielded just one single: “Someone Saved My Life Tonight.”
It’s time you listen to some of what is widely considered to be one of Elton John’s best albums.
To “Bitter Fingers,” about young guys trying to break free from dead-end gigs. To “Better Off Dead,” which snaps off one vivid image after another (and which I still haven’t fully figured out after 35 years). To “Curtains,” that memorable last cut, one a young JB feared was John saying goodbye to the music business.
Buy Captain Fantastic and the Brown Dirt Cowboyhere. The link is to a 1996 CD release that is remastered and contains three extra tracks. Two of the extra tracks — “Lucy in the Sky With Diamonds” and “Philadelphia Freedom” — were released as singles in 1974 and 1975, respectively. A2005 release also remastered, has two CDs with six extra tracks and a live performance of the original album at Wembley Stadium in London in 1975.
We do quite a few ticket giveaways here at TVD and I find that sometimes they don’t have the traction that our LP giveaways seem to conjure up. I mean, with all the raving I might do about this or that live act, I wonder if many of you are saying to yourselves, “Well, sure TVD. Sounds good—but not good enough to warrant a break from the warm hearth that is my turntable…”
And sure, there’s an argument to be made there. But in the case of London’s wonderful Peggy Suewho play DC9 next Tuesday night (6/8) let’s leave the raving to a few higher authorities:
“Rosa Slade and Katy Young sing with a lilting sweetness that is wholly deceptive, belying the undercurrent of fury in their lyrics, the agitations of their music… they combat melancholy though with some startlingly abrasive, PJ Harvey-style guitars, giddy whirls of accordion and a thrilling array of clattering, thundering, sharp and snappy percussion.” —The Guardian (4 stars)
“It’s in terms of sheer vocal prowess that Peggy Sue really come into their own, the duo’s spine-tingling harmonies elevating them from pretty damn impressive to all-out, head-over-heels brilliant.” —NME
“On their amiably unvarnished debut, ‘Fossils And Other Phantoms’ Peggy Sue are a bit punky, a bit folky, even a bit rockabilly, but always refreshingly themselves.” —Q
But really, don’t believe me or them. Find out for yourself as we’ve got a pair of tickets for Tuesday night’s show to put in your hands.
Sing the praises of discovering new music—either in regard to Peggy Sue or in general in the comments to this post and the most convincing of the lot gets to be even more convinced – on us!
You have until Monday (6/7) at noon to suitably impress and I can’t stress this part enough lately – leave us a contact email address.
From the City PaperCalendar:“On the surface, the Caribbean could be considered the quietest band that emerged from the wreckage of D.C.’s iconoclastic Smart Went Crazy in the late ’90s, but that description does the quintet a disservice: The group writes songs that are complex and elliptical and often perfectly tangled. It’s spent the last decade churning out breathy, meditative records at a steady clip, producing an impressive discography that’s not without its confrontational moments—its follow-up to 2007’s Populations should drop this year. The band’s singer, Michael Kentoff, is a masterful lyricist with a serious talent for short-form narratives and bemusing set pieces. He’s also, not shockingly, an excellent Twitterer.“
The Caribbean is joined tonight by Baltimore’s Small Surand I’m off to pull some records to spin before and in the middle. BYT’s John Foster is lugging a crate of vinyl over as well.
Paul Weller’s new single ‘Find The Torch Burn The Plans / Aim High’ is released in the UK on June 14th and in advance of its release, we’ve got our hands on a few remixes…
Man, you cannot go wrong with our friend DJ Nitekrawler’sMoneytown. I say it over and over again to anyone who digs SOUL with the capital ‘S’ or FUNK with the cap ‘F’ — GO.
In fact I said to him, send me over a LP cover that I can add to the top of this post and he nearly ‘sonned’ me. “Son, it’s all 45’s.”
Which I respect with the cap ‘R’ of course. Nitekrawler gives us the details:
The night will still be occurring every 1st Friday, the talented DJ Guests and overall vibe will remain constant, but the new venue will add to that with a much better sound system, more dance floor space, a way better beer selection plus beer specials, and even a BBQ chef in the rear courtyard!
For the kick-off event I’m bringing down the heat, aka Pittsburgh’s number one Northern Soul DJ, Gordy G.! Gordy has been involved in multiple high profile PGH parties including “Viper’s Soul Club” and now the tremendously successful “Titletown.” He regularly guests at soul parties from Ohio to Michigan. Now you get a chance to hear him kill it along side myself on the LMW wheels of steel. Will be a fantastic time, just DO NOT forget to tie those dancing shoes TIGHT.
DC native Laura Burhenn, she of The Mynabirds, returns to town this evening with a show at The Black Cat in support of what’s become our favorite release to date for 2010, ‘What We Lose in the Fire We Gain in the Flood.’ It’s made even more heartwarming to know we share a fondness for…well, let’s have Laura tell it. —Ed.
My introduction to vinyl was through a Mickey Mouse record player my mom bought for me at a garage sale when I was about four or so. It came with a whole stack of storybooks and read-along records — the kind that sound a bell when it’s time to turn the page. I remember sitting in the attic for hours at a time, flipping the records over, screwing down in the little plastic 45 adaptor, playing them again and again. Ever since then I’ve had an intense love affair with *used* records. There’s something about listening to songs that once belonged to someone else. You can imagine the sleeve in someone else’s hand, them turning the heavy stock over, reading the song titles on the back, pulling the vinyl disc out of the paper sleeve, laying out the square page of liner notes on the table or floor, next to a mug of coffee or glass of wine, soaking the songs in, letting those melodies define their moment. Not that anyone drank a bottle of wine while listening to those Mickey Mouse records. At least, I hope not.
That last image comes more from my favorite used record of all time: Neil Young’s “Harvest”. I bought it from a Salvation Army store when I was in college. The cover was marked on the top right corner with “Ruth Tabor” in black ink pen. I loved not only that entire album, but the whole process of wondering who Ruth was. Did she mark her name on all of her records? What else was in her collection? Did this record feel lost without its others? Sometimes when I feel down, I steep myself a mug of tea, pull “Harvest” out of its “Ruth Tabor” sleeve, spread out some big sheets of paper on the floor to draw on, and drop the needle. Never fails to help me feel better.
I grew up in a really conservative Christian household. But beyond some of the records you might expect to find on the shelf (that I made some killer dance routines to, I might add), my mom kept some great classical records around as well. I remember Bach’s Brandenburg Concertos most, the harpsichord spooling out complicated mathematics over the hum of a sunny afternoon. That’s probably why one of my favorite used vinyl finds is a box of 53 records at a music library sale when I was in college—all 53 for just $3. There were some really incredible finds in there: Debussy, Shostakovich, Schoenberg, Gershwin, miscellaneous collections of jazz standards, The Supremes covering the Beatles, and another favorite go-to: Dvorak’s New World Symphony.
On any road trip in my childhood, my mom would name the year each classic pop song was released as it came on the radio. When I asked her how she did it, she admitted that she once had a pretty extensive record collection—before she burned them when she tried Mormonism briefly in college. This is one of the greatest vinyl tragedies I can imagine. So you can only guess how elated I was to uncover a missed stack of her 45s when I was visiting my grandmother one day back when I was in high school. Right there in a bottom dresser drawer next to her Mr. Natural Gemini t-shirt (which I cut short and wore to Lollapalooza in ’94): Elton John, the Temptations, the Beatles, Stevie Wonder, Earth Wind and Fire, the “American Pie” single that you have to flip mid-way through the song to finish it. (I love that people had the patience for that—that they’d listen the whole way through with the mechanical stop-flip pause from side A to B in the middle.)
My grandmother, by the way, had a great little collection of country and bluegrass records, lots of Hank Williams. Her husband was a coal miner in West Virginia before becoming a Methodist minister. He died before I was born and I feel like that record collection stopped growing when he passed. Listening to her records made me feel like I was getting to know him, what their life was like together.
When I was in high school I discovered what it was like to find a record and fall in love, to feel like that music defined who I was—like the person singing was the only person in the world who really understood me. I have some good brand-new-to-me vinyl finds from those days, including a limited edition pressing of Tori Amos’ “Boys for Pele” on clear blue vinyl (which I got from the Intergalactic Garage in Shepherdstown, West Virginia—the lifeblood indie record shop I frequented that had all the best imports and rarities) and a hand-numbered pressing of Portishead’s “All Mine” single from when I saw them play 9:30. But as much as I loved those records (still do), I really loved listening to my mom’s 45s. Made me feel like I was getting a window into the past, finding out something I would only know by listening to her records. In that sense, I’ve always felt like vinyl is a real way of connecting people through time and space. There’s something about the physics and physicality of it all. You have to touch the records, hold them in your hands. And they’ve got those grooves, little ranges of mountains that bounce sound around like people shouting “Echo! Echo! Echo!” into the air, into our eardrums, into our brains. And there it sticks. That, to me, is an incredible process—something that digital music (all summed up in 1s and 0s) will never quite do. I love working with Saddle Creek, a label that still values and puts out vinyl. They keep this whole cycle alive.
“The Chaos is a return to the blistering form of their self-titled debut. . .They have always had an unabashed sensibility for writing three-minute pop songs and this record is stuffed full of them. The Futureheads have made exhilarating order out of The Chaos. 8/10 —Prefix
…and that brand of chaos arrives at The Black Cat this Friday night (6/4) and in advance of the live date, we’ve got two copies of the new LP for two winners!
Craving Chaos? Enter to win the LP in the comments to this post telling us simply why you deserve to have this LP land on your doorstep. We’ll choose two winners by noon on Monday (6/7) in the post chaos aftermath.
