Monthly Archives: July 2017

In rotation: 7/25/17

Why Vinyl’s Boom Is Over, As purists complain about low quality and high prices, vinyl sales taper off; Gillian Welch and David Rawlings cut their own records: Old LPs were cut from analog tapes—that’s why they sound so high quality. But the majority of today’s new and re-issued vinyl albums—around 80% or more, several experts estimate—start from digital files, even lower-quality CDs. These digital files are often loud and harsh-sounding, optimized for ear-buds, not living rooms. So the new vinyl LP is sometimes inferior to what a consumer hears on a CD. “They’re re-issuing [old albums] and not using the original tapes” to save time and money, says Michael Fremer, editor of AnalogPlanet.com and one of America’s leading audio authorities. “They have the tapes. They could take them out and have it done right—by a good engineer. They don’t.”

Pasadena, Whittier bookstores, record sellers are enjoying a Millennial-led resurgence in sales: Young people are leading to the retro trend, experts say. David Sax, who wrote “The Revenge of Analog: Real Things and Why They Matter,” said millennials, who grew up on digital technology, crave products offering a tactile experience. They also might just be bored with looking at screens, Sax said. “For many of them, especially as they get younger, digital technology is not anything new and magical — it is kind of the norm,” Sax said. “Analog is a choice.”

Vinyl makes comeback in suburban Melbourne: Australia will again make vinyl music with the nation’s first modern record press on track to open after a production hiatus of more than 30 years. The new plant is due to start operations in the Melbourne’s northern suburbs early next year and will double as an event space, hosting launches and other musical acts. “We want to make great records, support the Australian music scene and have fun along the way,” Program Records spokesman Steve Lynch said.

Putting The Record Straight: Of all comebacks, none is as son­orous as this. Veteran ‘vinylhead’ Jaydeep Joy aka Jazzy Joe, hums a happy tune as his fingers flip through the scores of rec­ords lining the racks at Radio and Gramophone House, New Delhi. And one can imagine long-haired youths from long back dancing to the tune of Aao Twist Kare, as he lays the newly pressed record of Bhoot Bangla on the turntable, placing the needle gently into the groove. Jaydeep is not alone in being ent­hralled by the scratchy perfection of Long Playing or LP records.

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TVD Live: Steve Earle and The Dukes with
The Mastersons at the Birchmere, 7/18

PHOTOS: RICHIE DOWNS | It’s a brash move to close out a show on one of the hottest days in the DC metro area with a song called “Christmas in Washington,” but Steve Earle’s career has been one of brash moves.

He started his generous show at The Birchmere in Alexandria, VA., Tuesday with a handful of songs from an album that’s only been out a month, beginning with its title track, “So You Wanna be an Outlaw.” The collection followed an all blues and a lighter approach with Shawn Colvin on a duet album, he returned to ringing outlaw country, inspired by old Waylon Jennings and a couple of songs he had written for TV’s Nashville.

Backed by a stomping version of the Dukes that was sweetened by pedal steel and fiddle, he eventually brought in those early career anthems like “Guitar Town” and “The Galway Girl” (its bagpipe sounds courtesy of the keyboards). The Christmas song was less about the season and more about the chorus, “”Come back Woody Guthrie, come back to us now.” He had just lead a singalong “This Land is Your Land,” with its own new Trump Tower verse and Guthrie’s spirit was hanging in the air.

“Christmas in Washington” was written on another disappointing election 20 years earlier: The Democrats rehearsed getting into gear for four more years / Things not gettin’ worse / Republicans drink whiskey neat and thanked their lucky stars.

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TVD Live Shots: James Taylor and Bonnie Raitt at Wrigley Field, 7/17

I’m starting to forget that baseball is actually played at Wrigley Field because it’s becoming one of my favorite concert destinations. One week ago James Taylor and Bonnie Raitt took to the stage at Chicago’s historic ballpark for a night of easy listening nostalgia.

Bonnie Raitt opened the evening with a fun set and some surprise covers—notably, the Talking Heads’ “Burning Down the House” and INXS’ “Need You Tonight.” But the emotional highlight came during her stunning version of “Angel from Montgomery,” a song that’s not just special to me but, she noted, her as well. In between songs she took in the sights, “I hope wherever my folks are they’re digging this view right now.” She also expressed her gratitude to James Taylor, a lifelong friend, before he joined her on stage for “Thing Called Love.” “It’s an astonishing thing to be here tonight and on this tour,” she remarked.

James Taylor kicked off his headlining set with crowd pleaser “Carolina in My Mind.” His demeanor suggests that he’s the nicest, most considerate, wonderful man on the planet. Seriously, if you couldn’t tell by listening to his songs, you can tell by watching his interactions with his band and the crowd.

He’s funny too. During “Sunny Skies” home videos and photos of James with his dog (who he later described as having a “potato body”) ran across the monitors. He explained, “If you run out of sexy you gotta go cute,” to a roar of laughter from the crowd. The set carried on with one hit after another from his deep catalog of music, culminating in another duet with Bonnie (“You Can Close Your Eyes”) to conclude the evening. It was a memorable summer night at Wrigley—one that I won’t forget.

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TVD Radar: Superchunk to reissue debut on vinyl, in stores 8/25

VIA PRESS RELEASE | On August 25, Superchunk will reissue their self-titled album on vinyl for the first time since its initial release, and on Merge for the very first time. The remastered LP features updated artwork and includes an 11” × 17” replica of an early Chunk show flyer, with photos and notes from the band on the reverse.

Both CD and LP include a digital download of Clambakes Vol 9: Other Music From Unshowered Grumblers – Live in NYC 1990, a show recorded at CBGB just four days after the album was released. The first 250 LP orders will receive the album on vibrant opaque orange vinyl, and both CD and LP orders will include a large foldout poster of the woodcut used on the cover art, while supplies last. In addition, all pre-orders will be entered into a random drawing to win one of 25 original doodles by Laura Ballance! Pre-order Superchunk now on CD and limited-edition orange vinyl in the Merge store, where this release, along with the entire Superchunk catalog, is on sale for 10% off through July 25!

Mac shared his memories of these early days of Superchunk: “When I listen to our first album now, other than cringing at some clams and the vocals and the juvenile attitude of the whole thing… what was I angry about? You’ll have to ask 21-year-old me because in my memory, we were having fun. I hear the accumulation of our influences, which I suppose is normal for a first album—weaving all the things you loved up to that point into your own first thing. The Buzzcocks, Hüsker Dü, Dinosaur Jr, and Sonic Youth are all right there and what we were listening to.

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Graded on a Curve: Coulson, Dean, McGuinness, Flint,
Lo & Behold

You know what I miss? The days when I didn’t know jack shit about music. This adolescent would catch a ride to the J.G. McCrory Store—part of a once mighty but long-gone chain of five and dimes—in nearby Hanover, Pennsylvania to spend what little money he had on albums by artists he’d never heard of pulled from McCrory’s legendary cut-out bins. Sure I got burnt—some of the albums I goggled at there I haven’t seen since, so fly-by-night dubious were the contents therein—but once in a while I would return home with a real treasure.

I didn’t find Coulson, Dean, McGuinness, Flint’s 1972 album Lo & Behold back then, but it has all of the glorious hallmarks of a serendipitous discovery purchased on pure whim at that ghostly McCrory’s on Hanover’s main drag a thousand years ago. Who are these guys? Don’t ask me. (Okay, so it turns out Tom McGuinness once played bass and guitar with Manfred Mann—who produced Lo & Behold—and Hughie Flint once played drums for John Mayall. As for Dennis Coulson (the band’s lead singer) and Dixie Dean (on bass), they were journeymen just like McGuinness and Flint. The most interesting thing I can think to say about this band is that Neil Innes—one of the brilliant minds behind the Bonzo Dog Band—played piano with them for a short while.)

But on Lo & Behold CDMF makes up for what they lack in name recognition by pulling off one hell of a coup. Lo & Behold is an album of Dylan covers, most of them dating to Dylan’s incredibly fecund sojourn with the Band at the rented house they called Big Pink in West Saugerties, New York in 1967. Dylan and the Band produced some of the finest American music ever made during Dylan’s famed period as rock’s greatest recluse, and Coulson, Dean, McGuinness, Flint work real magic on Lo & Behold, which anybody interested in hearing musical alchemy at work should seek out.

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TVD’s Press Play

Press Play is our Monday recap of the new and FREE tracks received last week to inform the next trip to your local indie record store.

Anastasia Minster – When I Die
Brad Peterson – What The Open Heart Allows
J Hacha de Zola – No Situation
Kazyak – Basin
Stephen Doster – Something Good
Ephrata – Odds
Omega Vague – Drown
Kacey Johansing – Bow And Arrow
Mark Bryan – If You Saw Her

TVD SINGLE OF THE WEEK:
The Darkness – All The Pretty Girls

Apsley – Fear
Beth // James – Bring Your Fire To Me
General Crush – Beautiful Day
20 Minute Loop – Mercury Vapor
Houses of Heaven – Black Waves
R. Kelly – Ignition Remix (Pink Panda The Good Life Remix)
Chris Rivers – TRI Force Freestyle
Jahn Rome – Safe & Sound
Carbin x Milz x Top $helf – Pull Up

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In rotation: 7/24/17

Australia to get first modern vinyl pressing plant in 30 years: Program Records is set to open in Melbourne in 2018 and will come fully equipped with WarmTone presses, with makers Viryl Technologies claiming them to be the fastest pressing time in the world. The Canadian company says its fully automated machines can press a record in just 30 seconds. The factory will initially be offering 12-inch pressed at 140 and 180 grams and plan to offer 7-inch and 10-inch pressing in 2019. Custom colour options will also be available. Founder Steve Lynch says: “Program Records will focus on supporting the local music scene backed by a data driven and highly efficient production facility. Australia has a great music scene that deserves to have affordable, good quality vinyl made here on time.”

Electric Fetus’ Bob Fuchs on the vinyl revival: Start being sorry you gave away all your vinyl records (if you ever had any), or didn’t want your parents’ or grandparents’ collection, or don’t have a turntable. Vinyl is back. In fact, vinyl records are so popular that Sony, the biggest of the Big Three record labels, recently announced that it will start pressing them again, as soon as March 2018, in a new factory near Tokyo. The last time Sony made a vinyl record was 1989. Bob Fuchs knows more about the music business locally than anyone. The general manager of the Electric Fetus, a longtime Minnesota mainstay, he has seen it all firsthand in his 30 years there (he started in the record department in December 1987).

Yesterday & Today: Early DC punks shopped, worked at record store: Almost 40 years ago, the door opened to an unassuming record store in a strip shopping center in Rockville and became a rallying point for music fans and members of D.C.’s fledgling punk and alternative scenes. In September 1977, Skip Groff opened the Yesterday & Today record shop at 1327 Rockville Pike. “The rent was remarkably cheap for what I considered to be a prime location,” said Groff, sitting in his living room in Montgomery County. “When I started in 1977 it was $450 a month.” As the punk music scene began to percolate, Groff, who had served stints as a disc jockey at WINX and WAVA, and had worked in the record industry doing promotions for RCA, opened his independent store. This was the year that bands including The Ramones, Blondie, and Talking Heads released American singles, which Groff couldn’t sell.

The Smiths announce deluxe The Queen is Dead vinyl box set with unreleased recordings: The Smiths are releasing a deluxe version of their 1986 album The Queen is Dead on 20 October 2017. The vinyl set includes the first take of ‘There Is a Light That Never Goes Out’, along with demos and b-sides taken from their third studio album. The news comes over a month after the band teased a possible reissue of the album on social media. Hopefully this release will go more smoothly than their ‘The Queen is Dead’ single reissue earlier this year, which drew the ire of Morrissey after HMV implemented a ‘limited to one per customer’ policy.

Nightmares of an Erstwhile Record Store Manager: I have a recurring nightmare. It isn’t always the same, but it always involves a last-minute, present-day reopening of Hollywood Records and Tapes, the record store I managed decades ago. Until one day when it was abruptly shuttered by the building owners following a bank foreclosure. In my dream, I’m freaking out — rushing around, un-boxing 8-tracks, installing LP racks, and trying to remember how to fill out an Ennis form. Because customers are coming any minute now and we’ve been closed for 32 years! Ancient history. But memories of losing “my” music shop came flooding back when I heard that the Roosevelt Row home of Revolver Records is for sale. Wide awake, that news brought a flood of my own long-ago panic when one day my record store was no longer there.

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TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

Well the old world may be dead / Our parents can’t understand / But I still love my parents / And I still love the old world / Oh, I had a New York girlfriend / And she couldn’t understand how I could / Still love my parents and still love the old world / So I told her: / I want to keep my place in the old world / Keep my place in the arcane / Cause I still love my parents and I still love the old world

Well, the truth is I still love my parents. In fact I hope my kid will always love me too—and occasionally return a text.

This weekend Goldenvoice and LA native Sean Carlson host the annual FYF Festival. I’ve always been proud of the fact that Sean, the FYF festival creator, was once a short-lived intern for me at V2 Records. The truth is Sean didn’t do the greatest job—the kid was going places too fast to work at a record label.

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TVD Live: The Zombies at the Birchmere, 7/17

Half a century ago this summer, The Zombies were in Abbey Road studio working on an album that would both break up the band and bring them back together decades later. Fifty years later, they were winding up another US tour whose center point was a group of songs from that album that only grew in stature over the years, Odessey and Oracle.

In a show at The Birchmere in Alexandria Monday, the songs soared as lovely chamber pop concoctions—“Care of Cell 44,” “A Rose for Emily,” and “This Will Be Our Year,” leading into their biggest hit, “Time of the Season.” Oddly, it was that last one that didn’t seem well executed—the handclap, drumbeat, breath that was the basis of its precise backbeat seemed shaky (perhaps because they left the handclap to the audience), the keyboard solo by Rod Argent want a little long and wandered a little far afield, the big choral singalong a bit wanting (again because of the audience).

Overall, the group known for its bad timing (they broke up before “Time of the Season” became a hit and wouldn’t reform to tour or otherwise capitalize on it) sounded extraordinarily great. That’s because the vocals of lead singer Colin Blunstone, operatic and high ranging, seemed untouched by the passing years, perhaps because he’d been resting it so long. Argent’s voice wasn’t bad either, though he hid it most of the night, even on songs from his project following the Zombies, also called Argent.

There was more British rock royalty in this small unit: bassist Jim Rodford, who had co-founded Argent, went on to play with the Kinks from 1978 until the band stopped touring in 1996. He also spent time in versions of the Animals and the Swinging Blue Jeans. He’s 76; Argent and Blunstone are 72. The two younger members of the band, drummer (and son) Steve Rodford and guitarist Tom Toomey—both seemed to have white hair in sympathy with their elder bandleaders.

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TVD Live: Pitchfork Music Festival, 7/16

3:13 PM: It’s Sunday, so everyone seems a little sluggish but local fellas Ne-Hi are bringing lots of energy to the Green Stage, effectively waking up the crowd. House legend and Chicagoan Derrick Carter is doing the same over at the Blue Stage. It’s a very Chicago day at Pitchfork, as many members of today’s lineup call the Windy City home. I’m excited because the talent has been boiling over here for quite some time and these acts deserve more exposure.

3:45 PM: There is so much talent flowing out of Top Dawg Entertainment and Isaiah Rashad is no exception. He’s got skills and something to say—a powerful combination.

4:06 PM: Speaking of Chicagoans, Joey Purp (backed by—you guessed it—more Chicagoans, Peter CottonTale and DJ Knox Fortune) has the crowd bouncing for his entire set. Aside from confetti, beach balls, and super soakers, he surprises the crowd with Vic Mensa and Towkio. (Yeah, they’re Chicago boys too.) Chicago is in the mutha f**kin’ house!

4:48 PM: I haven’t seen Hamilton Leithauser since he was with The Walkmen and I am digging his new sound. The sun is out and people are chillin’, enjoying the last day of the fest (and weekend).

5:02 PM: Word is circulating that the Avalanches have to cancel their appearance later today because of a family emergency. Tough news. They’re in our thoughts.

5:25 PM: Tech issues are holding up Ride’s set. We’re at a 10 minute delay right now and the crowd is getting restless. “Figure it out!” someone yells and one of the technicians is not pleased. “Shit happens!” he yells back.

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Stanton Moore’s With You in Mind: The Songs of Allen Toussaint in stores today, performance tonight, 7/21

Galactic drummer Stanton Moore has held down a regular Tuesday night jazz gig with bassist James Singleton and pianist David Torkanowsky at Snug Harbor for several years now. When it came time to record their second album, the unexpected death of New Orleans legend Allen Toussaint put a kink in their plans. The intended album of original music was put on hold and the group went into the studio to record a tribute to the great pianist, composer, bandleader, and producer.

The result, With You in Mind: the Songs of Allen Toussaint, is available today. The trio will play an in-store set at the Louisiana Music Factory this evening at 7 PM.

Years of playing together have honed the trio into an intuitive working unit. For the album, they took some liberties with Toussaint’s iconic time signatures, essentially re-working some of the songs. Toussaint was famous for re-arranging tunes and would certainly be impressed with the results.

Since Toussaint’s most famous work was for other singers, the group brought in some outside vocalists including Cyril Neville. The soulful singer puts his on stamp on the once-obscure song, “Here Come the Girls,” a track originally done by the one-and-only Ernie K-Doe, which has had a second life in recent years after appearing on a British advertisement.

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TVD Radar: Fluance’s RT80 and RT81 High Fidelity Turntables

Over the 10 years that we’ve been behind this vinyl endeavor, we’ve seen our fair share of turntables. From the lightweight plastic variations that one could kick down the length of a football field, to the mega high-end models you’d need to take out a second mortgage to afford, we’ve seen quite a number.

However, there’s been one recurring question we’ve received over the years from folks just getting into the vinyl thing to the old hands with years of experience—what’s your pick for a reasonably priced turntable that delivers higher end, quality fidelity? For a long time we didn’t quite have a solid position in regard to a price point paired with said turntable coming with a touch of elegance and superior stability and sound which would lend itself as a go-to recommendation—then these Fluance models came upon our radar.

Now, candidly, having felt a touch burned by the aforementioned plastic turntables more than once, we’ve become of the mind that seeing and hearing is believing, and to Fluance’s confidence in their product, they zipped one off to us in the mail that we’ve put to work in the office over the past few weeks—and we’re highly (and pleasantly) impressed.

Firstly, the turntable is gorgeous. Fluance shared with us their RT81 model and the natural walnut finish is a stunner. (Closer up, detail photos can be found here.) From the Audio Technica AT95E stylus to the Texas Instruments preamp and gold-plated RCA line outputs, the audio response is deep and warm and dynamic, and the ease of switching from 33 to 45RPM is a mere twist of a knob. All this and the set up and balancing of the tonearm was a snap.

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Graded on a Curve:
Herbie Hancock,
Head Hunters

When it comes to Herbie Hancock’s jazz-fusion landmark, 1973’s Head Hunters, I’ll give the first word to my brother Jeffrey Little, the world’s premier jazzbo—“It’s a difficult assessment. I mean, on its own, abstracted out of context, this is a fine jazz/funk hybrid. It’s got “Chameleon” on it, for chrissakes. However, it’s difficult to listen to and not actively mind-juggle it with what preceded it. Forget what Miles Davis was doing; this ain’t that. That’s like comparing The Gap Band to P-Funk.”

“But,” he goes on, “measured against himself, and the three or four Mwandishi albums (including the badass Fat Albert Rotunda from 1969) that came before Head Hunters this is an obvious step, if not down, then a side-step across, and down. Mwandishi, Crossings, and Sextant, while not perfect, were among the highlights of the early fusion movement. This was a movement that proved to be a race to the bottom, where you could find the obscene tangle that was Spyro Gyra resting against the uber-talented gak that was Return to Forever. It’s unfair, but it’s hard for me to hear this without thinking that.”

I’m no jazz expert, but I know this: your love for Head Hunters, which is not only one of jazz’s all-time best sellers but is also considered one of jazz’s most innovative releases, is bound to be in direct correlation with your love for the genre, jazz-fusion it’s credited with creating. Me, I hate jazz-fusion. It led not only to Spyro Gyra but also to Grover Washington, Jr., Chuck Mangione, and Kenny G, and that is one dubious, if not flat-out evil, legacy indeed. Sure, it’s a mite funkier—and a bit more challenging, musically—than the artists it spawned, but the apples didn’t land that far from the tree.

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In rotation: 7/21/17

Long time book and record store closing it’s doors in Santa Cruz: After a 48 year run, it is time for John Livingston to say goodbye to Logos Books and Records Store, a staple of downtown Santa Cruz. Livingston founded Logos Books and Records at the age of 22 on Pacific Avenue and over the years, he’s seen his fair share of ups and downs. But recently it’s just been too tough to make ends meet. “This economic environment is difficult to sell a business like this,” added Livingston. A business that buys and sells used books and records, ultimately becoming a hub for downtown Santa Cruz. But currently, Livingston added he’s seen how streaming books and music online has completely changed the industry.

Longtime Rochester alternative music shop closing after 29 years: Alternative music fans are browsing the collection at Lakeshore Record Exchange on Park Avenue for the last time. The longtime Rochester alternative music store is closing next month after decades in business. Owner Andrew Chinnici says the European and American records and CDs he sells aren’t that hard to find anymore because most people buy their music online. “In a way, you could say that it’s good because more people listen to more music now than they ever have before.” he said. “It’s just the way in which they get it is different. And that’s the thing that sort of means that a place like this doesn’t really have a reason for being.”

Restaurant owner to open record store downtown in historic building: The owner of a popular Cincinnati restaurant is going into the music business, the Enquirer reports. Elias Leisring, owner of Eli’s BBQ, is preparing to open Herzog Music, a record store and music shop in the famed historic building where Hank Williams and other pioneering country, R&B and blues musicians recorded some of their earliest music. An opening event for the store at 811 Race St., across the street from the Phoenix reception venue, is planned July 22-23 “We’re going to have live music, bands and just a full weekend of celebrating Cincinnati’s music history,” said Andrew Aragon, who will be the store manager.

Soaring vinyl sales help put Golden Discs back in black: Record store chain Golden Discs is back in the black after the group posted a profit of €172,878 for financial year-end 2016, according to a statement from the group. Turnover for period-end December 2016 was €17.9m, driven in part by new store openings and a significant growth in sales of vinyl records. Store openings included one in Dundrum Town Centre and a pop-up store on Dublin’s Henry Street for the busy Christmas trading period. Sales of vinyl were up more than 100pc on the previous year, it said. “Vinyl sales are at a 25-year high and are continuing to grow,” said Golden Disc Group CEO Stephen Fitzgerald. “Its renaissance proves the desire to own music in the physical format remains strong,” he added.

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TVD Live: Pitchfork Music Festival, 7/15

2:55 PM: En route to Cherry Glazerr I catch some of Weyes Blood’s pretty set.

2:59 PM: I’m noticing lots of little fans in the crowd today. It’s family day at the fest, adding a whole new element of cute to Pitchfork.

3:17 PM: The Blue Stage is packed for Cherry Glazerr, and rightfully so. They are rocking hard and sounding even better than when they first caught my attention opening for Wavves and Best Coast in February ’16.

4:25 PM: Mitski began her set soft and controlled, allowing it to build into emotional catharsis. Puberty 2, her fourth album released last year is still getting a lot of play in my home, so it was a thrill to finally see her live.

5:05 PM: George Clinton and Parliament Funkadelic are doing what they came to do: bring the funk. The Mothership has taken over the Green Stage—I feel like there are 20 people up there right now—and George is conducting the large crowd.

5:37 PM: George and Parliament play over their set time and The Feelies and their crowd are not feeling it. “It’s called courtesy,” Bill Million says before they dive into their set. I get their frustration, but they quickly kick off their set of music that’s lasted the test of time.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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