Monthly Archives: March 2014

Graded on a Curve: Uncle Acid and & the deadbeats,
Mind Control

Psychedelic doom rockers Uncle Acid & the deadbeats are trapped in a time warp. Coincidentally it’s the very same time warp that I’ve been stranded in for years. To wit, the benighted second half of 1969, when the dark stars of Altamont and the Manson Family killings converged to send the Age of Aquarius into permanent retrograde. I can’t speak for Uncle Acid, but there’s no place I’d rather be.

Sure, it’s a bummer. The dogs of insanity have been loosed. Paranoia is the new dope. Every freak I know is either a Satanist or trying to trade in his flower-painted VW bus for a tank. And you can forget all that he ain’t heavy, he’s your brother hoo-ha. Take that hippie over there, the one with the crazy hair and hypnotic stare. He looks very heavy indeed, and he is most certainly not your brother. That said I’m glad Uncle Acid and the deadbeats are here, because nobody, and I mean nobody, better captures the pall of fear and loathing that has settled, like a cloud of pure dread, over us all.

Cambridge, England’s Uncle Acid & the deadbeats have released three full-lengths of skull-crushing, evil-infused psychedelic doom metal—using vintage equipment to more accurately evoke the buzz-harshing vibe of the Summer of Hate—since their formation in 2009. They sound like Black Sabbath, The Stooges, and Pentagram rolled into a joint, then laced with angel dust. Go ahead, smoke it. Sure, it’ll make you a tad paranoid. But as Charlie himself said, “Total paranoia is just total awareness.” And in the year 1969, total awareness just might save your life.

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TVD’s Press Play

Press Play is our Monday morning recap of the new tracks received last week—provided here to inform your vinyl purchasing power. Click, preview, download.

Patrick Park – My Holding Hand Is Empty
DA & The Jones – Make it Right (REBELDE RMX)
2blastguns – Frame Of Emotions (DJ Knowledge Remix)
Cloud Boat – Carmine
TOURIST – Together
Lola’s Bad – Break Free
Olympic Ayres – Take Flight (James Curd Remix)
Marian Hill – One Time (Imanos Remix)
Virgin of the Birds – Every Revelry
Sabatta – Told Ya!

TVD SINGLE OF THE WEEK:
Kitten – Why I Wait

Meklit – Slow
Sonia Stein – Friendly Ghost
Universal Thee – A Million Voices
Midnite On Pearl Beach – Modern Gods
Midwest Hype – The Time
One Hundred Percent – Rainy Day Radio
Haim – If I Could Change Your Mind (The Knocks Remix)
GOTSOME – Bassline (AMTRAC Remix)
Lettuce – Slippin Into Darkness (GRiZ Remix Ft. Jessica Breanne)
Chalk And Numbers – Shut Down

10 more FREE TRACKS on side B!

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The Best of The Idelic Hour with Jon Sidel

The Idelic hour returns with a new episode next week. —Ed.

ORIGINALLY BROADCAST ON JANUARY 17, 2014
Greetings from Laurel Canyon!

Per my usual routine, I emerged from my garage office to fetch a late night cup of tea. My lovely wife Susan met me at the kettle. She was excited to note that today is the 20th anniversary of the Northridge earthquake.

Coincidently, a couple of months ago I came across two photographs of me on that “Northridge” day. In the photos I’m happily standing in front of a collapsed Santa Monica Freeway. The pair of snaps have been residing on our fridge.


Getting older is a trip. Fuck man, twenty years ago? It feels like a lifetime ago. (I guess it’s part of a lifetime?) So much has happened. So many memories, people, places, and things. Yes, that day—and I should say a very dark night—is a day I surely will never forget.

Crazy enough, we woke up at 5:30am to the rattle of a small earthquake. Fitting I guess?

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TVD Live: Typhoon, Lady Lamb the Beekeeper, and Wild Ones at 9:30 Club, 3/19

On Wednesday night at the 9:30 Club, an eager audience was lucky enough to glimpse a few promising, emerging indie rock and pop acts. The sold-out show featured three Portland bands (two Oregon—openers Wild Ones and main act Typhoon, and one Maine—Lady Lamb the Beekeeper) playing a series of relatively quick sets to the sold out crowd.

The night started with Portland, Oregon’s Wild Ones, a five-piece act headed by the lithe, ballerina-like lead vocalist Danielle Sullivan. Their half hour set drew from their 2013 debut Keep It Safe. Watching Sullivan’s calm demeanor on stage and the ease and talent with which the instrumentalists delivered their electro-pop tracks, it was impossible to sense the obstacles that Wild Ones had to overcome to get to the 9:30 Club stage.

From quitting band members to a punctured lung to thousands of dollars of debt, the path Wild Ones took to even release their album was anything but easy—or quick, taking well over a year of collective, DIY efforts to issue.

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TVD Recommends: Johnny Clegg at the House of Blues, 3/21

Paul Simon gets lots of credit for introducing American audiences to South African music. But for discerning fans of pop music, Clegg was our first exposure to the lilting melodies and uplifting lyrics of that musically diverse nation. He makes a rare New Orleans appearance at the House of Blues.

In addition to being a fabulous musician and songwriter, Clegg was also a revolutionary when South Africa was still under the apartheid system of racial separation and subjugation. A white man from a relatively privileged English family, he was under the spell of the music of the black majority from a young age.

He partnered with Sipho Mchunu to form the ground-breaking band Jaluka in 1969. They mixed English and Zulu lyrics to create a musical amalgamation that was all but banned by the white regime because racial mixing in bands was illegal.

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Needle Drop: Dinah Thorpe, “Can I see what’s in your backpack?”

The enigmatic Dinah Thorpe has drawn comparisons to everyone from Fiest to Nina Simone over the course of her 5 year career. Her newest offering, Lullabies and Wake-Up Calls, presents her sultry take on a few classics while showcasing her idiosyncratic songwriting.

Thorpe plays multiple stylistic roles on the album; from the vocalist whose stunning alto bathes the listener in tranquility, to the activist who uses her anti-establishment flow to dissect everything from traffic congestion to animal abuse. She imbues her tales of suburban plight with an unflinching conviction for a cleaner, greener, more politically astute Earth. There is, for instance, no question in her mind that bicycles are the future of transportation and schools are brainwashing our kids.

Dinah gives her incredible voice a few breaks on the album and uses the free space to drop spoken-word raps about the unfortunate state of things. The brilliant “Can I see what’s in your backpack?” sets its sight on the unceasing momentum of the Western world. As she rolls off couplets like “It’s time to dismantle the internet, now that it’s the only thing that tantalizes their intellect,” one can’t help but ponder the unfortunate side effects of the kids growing up in our iPhone infatuated culture.

Lullabies and Wake-Up Calls has been nominated for a Juno Award for Recording Package of the Year. Results will be in next week.

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TVD Recommends:
Two Turntables and the Right to Vote hosted by SoundStageDirect & VPI at SSD HQ, 3/22

…and we’ll have the exclusive outcome of the turntable tussle for you next week, right here at TVD. First, your main event:

SoundStageDirect is partnering with VPI Industries to celebrate with a special event on Saturday, March 22 from 12 to 4 p.m. at 212 Decatur Street in Doylestown, PA where customers can toast the growth of vinyl and help pick the next VPI turntable.

“I’ve been obsessed with records since I was 10-years-old, from the music itself to how they spin and to even how they smell,” said Seth Frank, owner of SoundStageDirect. “The fact that I’ve been able to build a successful business by simply following my passion is still unreal to me. I am still pinching myself.”

At age 10, Frank got his first vinyl gig at the Princeton Record Exchange in Princeton, NJ., where he gained valuable insight into the industry. After college he took a traditional corporate job, but quickly realized he had to follow his passion and founded SoundStageDirect.com.

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Graded on a Curve:
Little Feat,
Feats Don’t Fail Me Now

Little Feat was one of America’s foremost pre-punk-era bands, perhaps even its best. Little Feat boasted musicians with mad skills, the best of them the brilliant vocalist, guitarist, and songwriter Lowell George. And like a great junkball pitcher, they could throw all manner of bedazzling shit your way. They played fastball rock, curveball boogie, knuckleball blues, and a dangerous forkball funk, and with a runner of third and one out they might even send some screwball country past you, and make you look like a fool, boy. No wonder none other than Jimmy Page hailed them as his favorite American band.

In short, Little Feat cooked. But lots of bands can cook—all you need is a frying pan and some grease. What truly separated Little Feat from the pack was its brilliant songwriting. The band bequeathed us a whole shitload of timeless songs—including “Easy to Slip,” “Willin’,” “Spanish Moon,” “Hamburger Midnight,” “Dixie Chicken,” and plenty more besides—not one of which I have ever heard played on my car radio. There is no justice in this world, boyo.

In addition to being a great band, Little Feat remains an enduring medical enigma. To wit: When did Little Feat, or Patient X as the band is referred to in the copious medical literature on the subject, actually die? Some would argue that Little Feat is very much alive, and it’s true that a band by that name continues to make the rounds of the concert circuit. But I would argue that said band is little more than an animated corpse, dragging its desiccated carcass and reek of putrefaction from town to town and playing by means of jolts of electricity carefully administered by technicians hiding backstage.

Still others would pronounce the time of death as June 1979, when George died of a heart attack in a hotel room in Arlington, Virginia at age 34. But in my expert medical opinion, and I will go into this in more detail later, Little Feat expired well before that, in 1975 to be precise, a victim of Lowell’s diminishing role in the band and a creeping case of Steely Dan Disease.

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TVD Ticket Giveaway: Ray LaMontagne at Merriweather Post Pavilion, 6/4

Four years after the release of his Grammy-winning album God Willin’ & the Creek Don’t Rise, singer-songwriter Ray LaMontagne is set to release a new album this coming May. 

The folk singer didn’t originally start out in the music business. After graduating high school, LaMontagne worked at a shoe factory in Maine. He began pursuing a music career in 1999, landing a gig as the opener for John Gorka and Jonathan Edwards after writing and recording a ten-track demo album. In 2004, LaMontagne earned a record deal with RCA Records, with whom he released his debut album Trouble.

Towards the end of May, LaMontagne is embarking on a nationwide tour to promote the release of his fifth studio album. Named after the album, the Supernova Tour will be making a stop at Merriweather Post Pavilion on Wednesday, June 4, and we’re giving away a pair of tickets!

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Congo Square New World Rhythms Festival in Armstrong Park this weekend

Festival season is in full swing, what with the upstart Buku taking over Mardi Gras World on Friday and Saturday and the Jazz Fest’s annual festival inspired by the music of the African diaspora on the edge of the French Quarter on Saturday and Sunday.

The festival is part of the many ways that the fine folks at the New Orleans Jazz and Heritage Foundation (the non-profit that owns the Jazz Fest) give back to the local community. It’s free and open to the public and starts at 11 AM.

Saturday’s music spans the breadth of the diaspora with Boukman Eksperyans (pictured beloe) from Haiti and Punjabi-inspired brass band Red Baraat on the top of the list for this listener.

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Needle Drop: Mirror Talk, “This Woman’s Work”

LA electronic quartet Mirror Talk is creating a substantial round of buzz after the release of last year’s “Infatuation” EP. Their newest venture is a series of live videos wherein each member of the group picks a song of some significance to them and they arrange, perform, film, mix, and edit in a day.

Tracked and cut together in a 24-hour span, it’s a pretty awesome display of teamwork and focus. The exceptional vocals and Prince-like interpretation of Kate Bush’s “A Woman’s Work” make for a dreamy listen, while highlighting the bands cushy sound.

The luminescent one shot, one take approach to the video capitalizes on the done-in-a-day approach, and as the band’s Steven Lopez told us, “the performance itself was 100% live,” with some fine touches laid atop afterward.

Watch above and grab a free download here. Our First Date with Mirror Talk is here.

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Early Winters,
The TVD First Date

“Don’t tell anyone, but I don’t really buy new vinyl anymore.”

“I search around for the old stuff, Van Morrison, Veedon Fleece, Mary Margaret O’Hara, Miss America, The Smiths, The Queen In Dead. Not to say that the new stuff ain’t got it–it’s just that the old stuff has the goods, ya know?

Just don’t tell anyone, because I’m in a band and I’d get in trouble for saying stuff like that. Ok, sometimes I get new vinyl too, but don’t tell anyone. I really love secrets. Sometimes when I’m listening to vinyl, it’s like someone is telling me clandestine sweet nothings, but on a stereo.

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Graded on a Curve: Boppin’ Hillbilly Vol. 1

Apparently there are 30 whopping volumes in the compilation series Boppin’ Hillbilly, all of them released between ’88 and ‘94 by a shadowy Dutch company appropriately named White Label. Trying to collect vinyl copies of the entire set at this juncture is surely a foolhardy endeavor, but anyone desiring a fix of Country Swing in their life should attempt to hear at least a smattering of the music included across these insanely diligent sets. Unsurprisingly, some of the best selections, including a pair of stellar workouts from country guitar great Joe Maphis, are found on Vol. 1.

While many continue to associate them with the muffled audio from stadium concerts or the misbegotten demos of various rock stars, it’s impossible to deny that a considerable amount of vastly important cultural documentation has entered into common currency due to the undeniably ambiguous actions of bootleggers. Even better though is when the sheer impulse to collect and the undying need to document rise to the point of pure mania.

Not to be confused with an equally exhaustive and no doubt just as illicit ten volume batch of compact disc comps titled Rockin’ Hillbilly that were issued by the even more aptly monikered imprint Cactus, the obviously bootleg (though perhaps in this case the more suitable term is “grey market”) Boppin’ Hillbilly LPs do such a staggering job of corralling so much truly juiced-up white-boy boogie that listening to just a fraction can feel like being submerged inside a huge ceramic jug brimming with pure white lightnin’.

Certainly the impetus for all of this stuff is none other than the gang of Milton Brown (and His Musical Brownies), Spade Cooley (and His Orchestra), and of course Bob Wills (and His Texas Playboys), but one can also hear the influence of later greats like Merle Travis and Moon Mullican, assorted purveyors of high boogie-woogie piano, the breakneck guitar tandem of Speedy West and Jimmy Bryant, and the inescapable presence of Hank Williams, as well as hints of R&B, rockabilly and even pure early rock and roll.

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(Re)Graded on a Curve:
Rhinoceros, (s/t)

While not forgotten, the late-‘60s group known as Rhinoceros seem to be remembered less for their music and more for the circumstances of their formation. In the end that’s no great crime, but they did knock out two very solid LPs in ’68-’69 (and a final one in 1970 that frankly isn’t so good.) The first one was self-titled and anyone with a strong inclination for the music of the period should look into its contents.

Even though they got into game a bit late, the Elektra label was responsible for some of the biggest rock success stories of the latter half of the 1960s. The Doors were the company’s biggest commercial breakthrough, but interestingly, most of their other achievements from that period sold more modestly.

Love and The Paul Butterfield Blues Band certainly shifted some units, and the imprint’s diverse troop of progressive/ crossover folkies Tim Buckley, Phil Ochs, Tom Rush, and The Incredible String Band all found varying levels of consumer interest (particularly the ISB, who were quite big for a spell in the UK), but if the Lizard King and his crew are excluded from the equation, Elektra’s ‘60s rep rests far more on critical accolades and enduring influence than upon massive chart domination. Furthermore, the label even holds some curious releases from outfits that surely fell far short of Elektra’s expectations.

Some might be thinking of proto-punkers The Stooges and MC5, but that’s not the case. Less reliable, often word-of-mouth instances of proto-punk lore frequently establish that only a small, wise few bought the records that comprise the movement, but that’s not really all that accurate, with The Stooges managing a very minor but under the circumstances respectable showing of #106 on the Billboard Album Chart, and the MC5 climbing all the way to #30 and selling a quick 100,000 copies of Kick Out the Jams.

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Graded on a Curve:
Lou Reed,
Metal Machine Music

Metal Machine Music is the only album I’ve ever loved without having ever once listened to it. I suppose I could listen to it, but do I look crazy to you? Only a masochist would actually LISTEN to Metal Machine Music, because everybody knows Metal Machine Music is unlistenable. Or (pick your favorite) insanely boring, intensely annoying, or just something blandly maddening in the background of your life, like a running toilet or a malfunctioning air conditioner.

Can a malfunctioning air conditioner be art? Is every annoying and grating and horrible noise under the sun actually art? I used to operate a jackhammer; did that make me an artist? Seriously, I want to know.

No, I will never listen to Metal Machine Music because listening to Metal Machine Music might cause me to fall out of love with Metal Machine Music, or even worse to hate Metal Machine Music, and I don’t want that. I want to go to my grave loving Metal Machine Music, and the only way to be sure that happens is by never, ever listening to Metal Machine Music and finding out that Metal Machine Music is 64 minutes and 11 seconds of sonic tedium and totally blows, which I basically already know.

I guess what I’m saying is that I love Metal Machine Music in the abstract. I love it because of what it says about the meaning of art and more particularly the artistic pretentions of Lou Reed, and the sheer unmitigated gall of Lou Reed, and the lunatic grandiosity and pure self-loathing of Lou Reed—to (1) put two guitars in front of two very large amplifiers, then let the feedback from said amps cause the guitar strings to vibrate, in effect turning them into zombies (and wasn’t Lou Reed a zombie?) forced to play themselves, and then (2) release the resulting sonic palaver as a rock album, for all of Lou Reed’s hardcore fans to blindly run out and buy, without so much as a clue that what they were buying wasn’t a rock album at all but a larval insectile hum.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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