Monthly Archives: January 2019

TVD Live Shots: The 10th Annual DC Record Fair at Penn Social, 1/27

PHOTOS: RICHIE DOWNSSo what were you doing ten years ago? Probably not thinking of vinyl and record stores as a current concern—even if you stuck it out with our favorite medium through its less than popular phases.

Yet, there we were in January of 2009 feeling optimistic there would be an audience for a DC Record Fair which we brought to DC’s sorely missed Civilian Arts Project gallery space. And there were crowds. And lines. And a level of enthusiasm we simply didn’t anticipate …for vinyl.

Ten years on, over 1400 of you attended our now twice yearly event at DC’s Penn Social, and we’re thrilled by the continued support. Watch this space for updates on 2o19’s next DC record rummage.

This is not to say we haven’t received some criticism—yes, sometimes it’s dark, yea, a record here or there might be “overpriced,” or the crowd might be too heavy when you came by. (Hello 9:30 Club forum—we see you.) Rest assured we’re purchasing lights for the next event—however, if you can offer constructive criticism, we’d love to hear from you, either directly or in the comments. This is a community event and we’d like to hear from the community of DCRF attendees.

For now, here’s what went down last Sunday via the lens of photographer, Richie Downs.

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TVD Radar: Jewel, Pieces Of You vinyl reissue in stores 2/15

VIA PRESS RELEASE | Craft Recordings is pleased to announce their upcoming reissue of Pieces of You, the debut album from Jewel, one of the most successful singer-songwriters of all time. Long out-of-print, Craft Recordings reissues this landmark album on February 15th. Like the original, the 2-LP vinyl features five bonus tracks that originally appeared as B-sides on the album’s single releases, with lacquers cut by Chris Bellman at Bernie Grundman Mastering and pressed at Memphis Record Pressing. Barnes & Noble also will be selling an exclusive blue vinyl version.

Acclaimed American singer-songwriter-poet Jewel has enjoyed career longevity rare among her generation of artists. Since achieving international stardom over 20 years ago, Jewel has emerged as a charismatic live performer and a respected songwriter with 12 studio albums, four GRAMMY® nominations, and over 30 million albums sold worldwide. Signed before she was 19, Jewel credits her great mentors Bob Dylan, and Neil Young who took the time to encourage her as a young artist, advising her to take risks and make music she is authentically interested in.

Pieces of You was released in 1995, recorded in a studio on Neil Young’s ranch, and included Young’s backing band, The Stray Gators. The album stayed on the Billboard 200 chart for two years (peaking at #4) and spawned Top 10 hits including the certified platinum single “You Were Meant for Me,” “Who Will Save Your Soul,” and “Foolish Games.” Described by Rolling Stone as “a record that carved out a perfectly confessional, coffeehouse niche between the decline of grunge and the rise of slinky pop princess.” The album also reached mainstream success, going on to sell over 12 million copies and becoming certified 12x platinum ─ making it one of the best-selling debut albums of all time.

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TVD Radar: Pharoah Sanders & Idris Muhammad, Africa
2LP vinyl reissue in stores 3/29

VIA PRESS RELEASE | Pharoah ‘Farrell’ Sanders (born 1940) is a leading figure in the world of jazz and one of the last living legends with connections to players like Sun Ra and John Coltrane. His tenor saxophone playing has earned him royal status amongst free jazz players, critics and collectors.

Originally Sanders was interested in urban blues music, but his high school teacher exposed him to jazz and this took Farrell in an entirely new direction. Once completing high school Sanders quickly packed his belongings and headed to Oakland, where he got a chance to work with musicians of high caliber such as saxophone players Sonny Simmons and Dewey Redman (who were both later to be major forces in new jazz and free jazz). Soon the young Pharoah would meet John Coltrane and would feel being attracted to the life as a professional musician. By the early sixties Sanders moved to New York where the major jazz scene was happening. Here he’d spent most his time honing his skills at rehearsals with Sun Ra… sadly he was not making much money with the Arkestra and soon found himself living on the streets, trying to stay up all night playing and then scrounging for money during the day, often selling blood to eat.

Sanders recorded his debut album for ESP soon after, but it wasn’t until he started playing with his old friend John Coltrane that he would fully unleash the fury of his saxophone on the world of free jazz. The records Pharoah Sanders played on for Coltrane laid the foundation of what was to come for both the world of free jazz and for Sanders as a musician. After Coltrane’s tragic death Sanders would record further with Alice Coltrane, John’s widow, on the album Karma (1969 – Impulse!), which is universally accepted as Sanders’ masterpiece. Along with musicians Alice Coltrane and singer Leon Thomas, Sanders helped to create the genre of spiritual jazz.

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Charles Newman,
The TVD First Date

“I grew up in the late ’70s, which was the heart of vinyl culture.”

“As I turned 10 years old the disco era was in full swing, and so were my parents disco lessons where they would spin Gloria Gaynor and Earth Wind & Fire around the house. Around that time my uncle gave me The Beatles’ red and blue albums and an original pressing of The White Album and my collection began to grow. In the early 80’s I worked all kinds of teenager type jobs so I could make regular trips to The Music Machine, a local Baltimore record shop where I would mostly buy 7-inches and the occasional velvet glow-in-the-dark poster.

Around that time I started piano lessons and joined my first band. As a keyboard player in the early ’80s I was embracing the synthesizer movement, but during an infamous all-night hang with some friends in 10th grade, I saw Pink Floyd’s The Wall on a big screen TV and that changed everything.

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Graded on a Curve: New in Stores for January 2019, Part Five

Part five of the TVD Record Store Club’s look at the new and reissued releases—and more—presently in stores for January, 2019. Part one is here, part two is here, part three is here, and part four is here.

NEW RELEASE PICKS: Maurice Louca, Elephantine (Sub Rosa – Northern Spy) Cairo-born and based, pianist-guitarist-composer Louca has cut a prior LP under his own name, 2014’s Salute the Parrot, in addition to playing in Bikya, Alif, Lekhfa, Kharkhana (praised in this space a couple of weeks back as part of the Unrock split LP Carte Blanche), Orchestra Omar and Dwarves of East Agouza, the latter a trio with Sam Shalabi (of Shalabi Effect) and Alan Bishop (of Sun City Girls). Being hip to those two can provide a starting-point for what Louca achieves across Elephantine’s six tracks (totaling a gripping 38 minutes), but the whole is a highly distinctive blend of compositional fortitude and free jazz exploration. An instrumentally massive set, “The Palm of a Ghost” features exquisite vocals from Nadah El Shazly. A

Hedvig Mollestad Trio, Smells Funny (Rune Grammofon) If you always felt Mahavishnu needed an injection of Black Sabbath-like oomph scorch, this is an asteroid of chocolate plunged into your personal store of peanut butter (the group has notably shared stages with McLaughlin and Sab). Mollestad’s the guitarist, and she tears into complex runs without sacrificing forward motion as bassist Ellen Brekken and drummer Ivar Loe Bjørnstad deliver much more than a rhythmic bedrock. ‘tis a true power trio thing. The Sabbath reference shouldn’t imply the doom-laden but rather just heaviness, with the record (their sixth in seven years) a fine locale for headbangers and jazzbos to joyously congregate. The title brings Zappa’s comment on jazz to mind, but Smells Funny makes plain that rock ain’t dead, either. A

REISSUE/ ARCHIVAL PICK: Ran Blake & Jeanne Lee, The Newest Sound You Never Heard (A-Side) Along with teaching at the New England Conservatory in Boston for over 50 years, the great pianist Ran Blake has a voluminous discography; my introduction came through his sublime ’65 ESP Disk Ran Blake Plays Solo Piano. Four years prior, he debuted on record in duo with his Bard College classmate, the vocalist Jeanne Lee (and for two tracks bassist George Duvivier) on the RCA Victor LP The Newest Sound Around. Opening with “Blue Monk,” it stands amongst the most underrated of vocal jazz records, Lee not only impacted by but extending the grandness of Billie Holliday, Dinah Washington, and Abbey Lincoln as Blake, already more than just an accompanist, often recalled the sensitivity of Mal Waldron.

The title and the cover design of this 2CD collection directly reference the RCA LP, which is wholly appropriate as the contents are an ample serving of the duo in majestic form at the studio of what was then BRT (Belgium Radio and Television) and live in Brussels in ’66-’67. However, these recordings are also a spotlight on maturity and a widened sphere of interest, and right away; the opening “Misterioso” features words taken from a Gertrude Stein poem. Loaded with standards that ooze assurance and taste (in the best sense), they also dig into Ray Charles and Ornette and Duke, revisit “Blue Monk,” and in an unexpected but sweet left turn, interpret The Beatles and Dylan. Two tracks offer Blake in prime solo form, while Lee delivers a wonderful a cappella “Billie’s Blues.” Overall, outstanding and revelatory. A

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In rotation: 1/31/19

Jersey City, NJ | Jersey City’s Iris Records closing in February: “You can’t really live a full life without making difficult decisions. And deciding to close our shop on Brunswick Street has been a tough one for me. We opened in June of 1996 (Fridays only!), with a dude named Nestor buying a Bob James album for four bucks. 22 years and millions of dollar records later, we have lots of old and new friends who will be gutted by our news.This was the most difficult aspect of my decision. Sure, the rent keeps rising, the internet is killing us and our street is a construction site without any businesses to bolster our shop. None of this is news to anyone who lives, works or plays in the “new” Jersey City. But communities need things like record stores, and with Stan’s gone, JC will be left with no shop dedicated to music. That’s what rankles me the most. But nothing lasts forever, right? Anyone who has spent time chatting with me about life in general won’t be completely surprised by our closure. Running a business is difficult and I have a fair amount of tread on my tires. It’s time for a change!”

Kamloops, BC | Kamloops record store going cashless after nearby robberies: Barnacle Records doesn’t want your cash (for now). Since Jan. 11 there’ve been four robberies in downtown Kamloops — all within a couple hundred metres of each other — leading the record store to take a unique security measure. In a social media post last week, the owners of the store announced they would be going cashless for now, until the issue is resolved. That was after three robberies, one at Whispers and two at Moviemart, both just down the street from Barnacle. On Monday (Jan. 27), the McCleaners laundromat was robbed by a man with a knife and hammer. While police can’t confirm if the crimes are linked, Ronan McGrath, who owns and operates Barnacle with his wife Jessie, believes they’re connected, and while that risk is ongoing the shop isn’t carrying any hard cash.

Portland, OR | Where We Live: Portland slogan’s ‘weird’ roots: Portland is home to a wild assortment of people with delightfully original ideas. But one thing that isn’t original is the city’s unofficial motto. Weird, right? The phrase ‘Keep Portland Weird,’ it turns out, has Texas roots and one man is to thank for its migration to Oregon. Terry Currier, who owns a record store on Burnside called Music Millennium, told KOIN 6 News he was brainstorming a campaign to support local businesses in the city back in the early 2000s when inspiration didn’t dawn on him so much as it was given to him. “One day, I was talking to my friend who had a record store in Austin, Texas,” said Currier. That friend told him how someone had come up with the slogan ‘Keep Austin Weird.’ Currier loved it. So much so that he went to work spreading the slogan using a method that proved to be quite effective. “I made like 500 bumper stickers that said ‘Keep Portland Weird,'” Currier said. “And I made 500 bumper stickers that said ‘Keep Portland Weird – Support Local Business.'” Currier launched his bumper stickers in 2003, then ran a picture of the sticker in a local newspaper. The rest is history.

Hallmark Introduces New Vinyl Record Greeting Cards This Valentine’s Day Featuring Legendary Warner Music Group Artists. New Valentine’s Day cards feature vinyl records from Bruno Mars, Michael Bublé, and Kelly Clarkson. This Valentine’s Day, Hallmark is expanding its collection of Vinyl Record Cards with new cards featuring songs from legendary Warner Music Group (WMG) artists including Bruno Mars, Michael Bublé, and Kelly Clarkson. Each card includes an exclusive 7-inch vinyl record with two songs from each artist built into a sleeve on the card’s cover. Just remove the record, put it on any record player and enjoy the music. “Cards and music both share the power to change someone’s day and bring people closer, and our hope at Hallmark is that our new vinyl record cards will help people put their feelings into words,” said Tom Brantman, creative director – Hallmark Greetings Innovation. “These cards take Valentine’s Day to the next level as more than an expression but also a gift that can be enjoyed throughout the year.”

Jim James Announces Full Band Headline Tour, Deluxe Vinyl Reissue: …Paired in a die-cut gatefold jacket, pressed on specialty foil, UNIFORM DISTORTION/CLARITY: DELUXE EDITION sees both albums printed on newly colored vinyl, with UNIFORM DISTORTION available in a black and gold vinyl mix and UNIFORM CLARITY in a black and white vinyl mix. Furthermore, UNIFORM DISTORTION/CLARITY: DELUXE EDITION appends UNIFORM DISTORTION with two tracks from the original sessions, “It Will Work Out” and “Flash In The Pan” (Rock and Roll Versions) – both first released on Uniform Clarity – and also includes an exclusive 7″ single comprised of four never-before-heard cover versions: “Hot Burrito #1” (originally performed by The Flying Burrito Brothers), “How?” (John Lennon), “Fallin’ Rain” (Link Wray) and “Dark End of the Street” (written by Dan Penn and Chips Moman and recorded by innumerable legendary artists). Lastly, UNIFORM DISTORTION/CLARITY: DELUXE EDITION includes a double-sided foldout poster signed by James and exclusive to this release.

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TVD Radar: Coltrane ’58: The Prestige Recordings 8LP set in stores 3/29

VIA PRESS RELEASE | Though it’s been 52 years since his tragic passing, John Coltrane’s importance and influence have never been greater.

Though active for a relatively short period—from 1957 to ’67—he was an intrepid spirit who developed at a feverish pace. Coltrane’s breakout year, when his mature sound first grabbed ears and his own recordings began to sell consistently, was 1958. Coltrane ’58: The Prestige Recordings, out March 29th on Craft Recordings, is a box set (8-LP, 5-CD & digital formats) that chronicles the exciting story session by session, featuring all 37 tracks Coltrane recorded as a leader or co-leader for the independent Prestige label in those twelve months. This collection captures him in creative high gear—developing the signature improvisational style that journalist Ira Gitler famously dubbed “sheets of sound.”

The timely release of Coltrane ’58 marks the 70th year since the founding of Prestige Records and comes just after the 60th anniversary of these recordings. It also follows on last year’s successful release of Both Directions at Once, which debuted at No. 21 on the Billboard 200, the highest chart position of his career.

Coltrane ’58 brims with the shared jazz repertoire of the day—blues, bebop standards and familiar ballads—as well as original compositions and obscure tunes Coltrane rediscovered. Together they offer an array of emotional depth and instrumental prowess, showing how the rising saxophonist was actively stretching sound and increasing the intensity, and shifting the direction of what jazz performance was about. Included are definitive versions of “Lush Life,” “Lover Come Back to Me,” “Stardust,” “Good Bait” and “Little Melonae”; first recordings of originals like “Nakatini Serenade,” “The Believer,” “Black Pearls” and the heartfelt “Theme for Ernie”; and extended tenor saxophone tours-de-force such as “Russian Lullaby,” “Sweet Sapphire Blues,” and “I Want to Talk About You” that anticipate the stratospheric heights Coltrane would reach in the 1960s.

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‘Singing for Spencer’ benefit set for Thursday night at Tipitina’s, 1/31

Spencer Bohren (above) has been an important part of the music community in New Orleans and an internationally known troubadour of the blues for decades. He was recently diagnosed with cancer. As he undergoes treatment, a wide range of his musical friends are gathering at Tipitina’s Thursday night to raise money and help defray the living expenses of this hard-touring musician.

The benefit, dubbed, “Singing for Spencer,” is being organized by his son, Andre, and features two of his bands, Rory Danger and the Danger Dangers and Johnny Sketch and the Dirty Notes, as well as the Anders Osborne/ George Porter Jr./ Johnny Vidacovich Trio, Sweet Crude and Raw Oyster Cult with special guests Mike Doussan and Tommy and Darcy Malone.

The event is clearly a family affair as all of the musicians involved have played with and/or are related to one and other. Rory Danger & the Danger Dangers is a rockabilly band of sorts, fronted by saxophonist Aurora Nealand as her alter ego, Rory Danger. Marc Paradis, aka Johnny Sketch, is also in the band.

If you have never seen them perform, they are a hoot to say the least. Though the 45 minutes they are allotted as the first band on the bill won’t be long enough for one of their elaborate productions which often include costumes and spoken word segments, it will be a chance for them to rock out.

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Graded on a Curve:
Flamin’ Groovies,
Teenage Head

I’m proud to call myself a blues impurist, by which I mean I’d sooner listen to a bunch of know-nothing punks fold, spindle and mutilate the masterworks of such hallowed figures as Robert Johnson, Leadbelly, and John Lee Hooker than hunker down and listen to the originals, which I suppose makes me a bad person but hey–my mom probably told you that already.

And when it comes to raunching up the blooze garage rock style, you’ll have a hard time beating the early Flamin’ Groovies, who before they went all retro-British Invasion power pop in great songs like “Shake Some Action” (best Iggy and the Stooges song title ever!) turned out a couple of LPs of such inauthentic authenticity you can actually smell the motor oil pooling on the garage floor.

My fave is 1971’s Teenage Head, and you can tell how great it is just by looking at the cover–the Groovies were San Fran boys but you can forget about all of that peace and love bullshit; they look like they’re ready to play your party and steal your beer and talk your girlfriend into going home with ‘em even though home is reform school! Although for all I know they were real sweethearts and if their song “Kicks” is any indication were more likely to give your girlfriend a lecture on the perils of drug abuse than to hand her a Mandrax.

Anyway, on Teenage Head they play some blues numbers featuring mucho slide guitar one of which (“32-20”) was written by Robert Johnson and chug-a-lugs along just fine, toss in a real live be-bop-a-lula rockabilly number called “Evil-Hearted Ada” on which the singer does his best bouncing baby Elvis impersonation, kick out the jams big time on a raving cover of Randy Newman’s “Have You Seen My Baby?”, and toss off another drop-kick rockabilly cop with the hilarious title of “Doctor Boogie” on which the singer says you you gotta mow the lawn, baby, if you wanna be with me. Which might be a sexual metaphor but also might be, you know, just part of the job description. The lawnmower’s out back!

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TVD Premiere:
Francie Moon,
“Present Tense”

PHOTO: AVTAR KAY | Traveling troubadour of light, Francie Moon, is a “free spirit” in every sense of the term. Traversing the country in her signature vintage van, Moon has gigged across the entire continental US, releasing a prolific series of lovely psych folk albums along the way.

“Present Tense” is the the first taste of a slightly more unhinged direction Moon has taken since releasing her celebrated self-titled EP in 2016. She whoops and hollers her way through a majestic, surf rock-tinged, shoegaze jungle of jangling tremolo guitars and wiry drums, dropping such altruistic words of wisdom as, “We’re all the same / So shine on me / All the oceans will join hands / And all the hills will sing songs / And all the clouds will cry tears of joy / Everywhere they belong .”

Reflecting on the inception of the single, Moon affirms, “‘Present Tense’ is about the journey of being patient and loving with yourself when you’re getting back on track with who you are. A lot of people get caught up in the past and in the future, but this is about forgetting all that and just letting yourself be happy and free in the moment. I think when you finally let yourself feel that peace and freedom of being here now, fear and uncertainty usually wash away and sometimes doors start to open for the future you were really dreaming of anyway. It’s so important to feel good, and I think we can do that by not judging ourselves harshly. Easier said than done sometimes, but at least we’re all figuring life out together, all on the same sea, just different boats.”

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Graded on a Curve: William S. Burroughs,
Call Me Burroughs

Drug addict, gun enthusiast, Harvard graduate, cat lover, convict, accused conjurer of smut, and a distinguished member of the American Academy and Institute of Arts and Letters; the late and very great William Seward Burroughs II’s transformation from a consummate flouter of norms into an enduring icon of the counterculture didn’t transpire overnight. Most important were his writings, but the recordings played a large role as well; 1965’s Call Me Burroughs was first, and a half century after it helped to define post-Beat pre-Hippie underground cool, it remains amongst his best.

Barry Miles’ biography of William S. Burroughs, which just happens to share a title with the singular litterateur’s first LP, came out early last year. I’ll admit I’ve not read it, a circumstance pertaining far less to the tome’s 718 pages than it does to the simple fact that I’ve carried Burroughs’ writing and knowledge of his struggles, failings, and accomplishments with me for the entirety of my adult life. I do look forward to eventually inspecting its contents, however. I’ve only engaged with a small portion of Miles’ stuff, but in my experience he does sturdy work on subjects of interest to him, specifically musicians, writers, and the counterculture; if disinterested in hatchet jobs or salacious gossip, he’s also not a sycophant or a shill, and it’s possible to disagree with a conclusion Miles might make and yet want to continue reading.

I discovered Burroughs in my teens, so my own observations on the man and his achievements are solid if still open to change. But it occurs to me that a younger generation knows of him as just one in the myriad ranks of Great Dead Artists, which stings a bit since even in late age the guy was larger than life. Frankly, I’m totally chuffed a hefty Burroughsian study has recently appeared.

Bothersome is the pesky seriousness of those who abjure Burroughs’ celebrity as an obscurant to his worth as a writer, but trust me, they’re less obnoxious than folks who champion his reputation as a badass while deeming it needless to crack a spine. If the notoriety is unavoidable and oft-captivating, the importance of William Burroughs is primarily literary; as one of the Beat’s big three, he was a wily conduit between pulp and the postmodern.

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In rotation: 1/30/19

Philadelphia, PA | The Five Essential Record Stores For Building Your Vinyl Collection: Take your music taste for a spin with these classic stops. Newsflash: the album is dying, but the vinyl is gaining a whole new life. A relic of the pre–Spotify era when DJing meant more than just queuing a playlist, the record represents our wildest Gen–Z fears—commitment, authenticity, and fragility. And yet, we can’t stop buying them. In 2018, vinyl sales increased by 12.6 percent, while tangible album sales plummeted by more than triple that. With those statistics, it feels like everyone and their trendy little sister is getting in on this vintage trend. And you can, too, by building a vinyl collection that has everything the music section at Urban Outfitter’s doesn’t: hidden classics, genuine collectibles, and even the spare cassette tape. Whether you’re itching to live out an Empire Records–themed fantasy or put the latest Phoenix release on the needle, these stores have you covered. These institutions of all things throwback are the best record stores in Philadelphia

Seattle, WA | Vintage and the vinyl: A quick tour of five local record stores: Against all the odds of an increasingly digitized music industry, record stores seem to be everywhere. It appears that not even advancements in technology can expel vinyl records from their elusive “cool kid” status. In fact, vinyl sales themselves have been steadily rising since the market experienced a miraculous resurgence in the mid-2000s. In a consumer culture that routinely relies on the resurgence of “vintage” to diversify sales trends, record stores seem to thrive on their utter outdatedness. So for your retro pleasure, below are brief descriptions of five Seattle record stores that epitomize both the city’s diverse music scene and the distinct qualities that sustain the vinyl industry. Each store was evaluated based upon selection, organization, price range, and its general atmosphere and vibe.

Tell the truth: Do you really listen to albums on vinyl? I know it’s retro-cool to have a turntable for your favorite classic albums. But honestly — isn’t it really kind of a pain? …while I admit I, too, get a little nostalgic when I hear that telltale crackle in the speakers that means somebody’s playing a vinyl record, I can only take so much of the warm fuzzies before I wonder “why bother?” I mean, once you hear “Rocket Man” on Honky Chateau, you’re at the end of Side One. Which means after just five songs, you have to get up, walk over to the turntable, flip the record over, and listen to the next five songs on Side Two. And this is assuming you actually like all five songs on each side of the album. If you feel like skipping “I Think I’m Going to Kill Myself” (SIde One, Track Three) that’s another trip over to the turntable to lift the needle and drop it at the beginning of the next song. I feel as if all the progress we’ve made in music tech since the 1970s has rendered all that getting up and getting down unnecessary.

Review: Fluance’s RT85 turntable helped me understand vinyl’s surprising comeback: I have a bit of a confession to make. I’ve spent more money on audio gear than I care to admit… but I’ve never been that much into vinyl. Sure, I’ve owned a few budget tables over the years, and I’ve quietly admired the Regas, Technics, and VPIs of the world at audio events. I appreciated their value for those with extensive vinyl collections, or simply for the experience of the album art and ritual of placing a record on a platter. But as someone who grew up with the convenience digital era, I never felt compelled to invest in a fancy turntable. Then Fluance sent over the RT85, the $500 flagship of its new ‘Reference’ turntable family. I think I get it now. The RT85 is a beautiful, well-thought-out table, and for this relative vinyl noob, its sound quality was good enough to make me a bit of a convert.

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TVD Live Shots:
Buddy Guy and Corey Dennison at Buddy
Guy’s Legends, 1/24

If there is one thing to look forward to when it comes to Chicago in January, it’s Buddy Guy’s annual residency at his south loop blues club, Buddy Guy’s Legends. At 82, he shows no signs of slowing down and at 37, I watch him and wonder where he gets his energy. Thursday’s show was another excellent one with Buddy displaying his onstage charm and charisma, along with his signature guitar skills.

“If everyone was like me you wouldn’t have to worry about anyone hurting anyone,” he said early in his set. “That’s why we love you, Buddy,” a voice exclaimed from the crowd.

Powerhouse performer Corey Dennison and his band opened the show with an enthusiastic set. You can catch the final leg of Buddy’s residency this weekend – don’t miss it!

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TVD Radar: Vice Principals OST Season 1 & 2, 2LP in stores now

VIA PRESS RELEASE | Waxwork Records proudly presents the Original HBO Series Soundtrack to Vice Principals Seasons 1 & 2. Created by and starring Danny McBride and co-starring Walton Goggins, Vice Principals is a two season black comedy that focuses on an ill-tempered and disliked Vice Principal (McBride) and his ambitions to be promoted to the principal’s chair. When neither he or the co-vice principal (Goggins) are promoted, they co-conspire to overthrow and destroy the reputation of the newly appointed principal, Dr. Belinda Brown. A series of arson, blackmail, revenge, and even attempted murder ensues in the hilarious and often shocking series.

Waxwork worked directly with Danny McBride, composer Joseph Stephens, and Vice Principals music supervisor, DeVoe Yates, to create and release a deluxe vinyl release featuring the complete series soundtrack by Stephens. The 1980’s influenced synth-driven electronic soundtrack is both dark and droning. It’s melodic and fun, yet moody. It’s classic John Carpenter scored to the best John Hughes movie. It’s 100% awesome, and that’s a Gamby promise!

Album features include the complete series music by composer Joseph Stephens, 180 gram North Jackson Warriors Blue and White colored vinyl (Season 1) and 180 Gram North Jackson Tigers Orange and White colored vinyl (Season 2), artwork by Robert Sammelin, exclusive liner notes by Danny McBride, exclusive liner notes by composer Joseph Stephens, a King Ding-A-Ling insert, a printed insert of the album cover art, and a temporary tattoo of Dr. Belinda Brown’s tattoo featuring Gamby and Russell holding hands and eating sh*t.

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TVD Radar: The Gun, Gun ‘red devil’ vinyl reissue in stores, 3/1

VIA PRESS RELEASE | This 1968 release wasn’t just the debut album for the British band The Gun; it also marked the debut of a number of notable artists and their creations.

First of all, this was the first album recorded by the Gurvitz brothers, bassist/vocalist Paul and guitarist/vocalist Adrian; they went on to form Three Man Army (with Buddy Miles among other drummers) and then The Baker Gurvitz Army with Ginger Baker of Cream among many other projects. The Gun also introduced the song “Race with the Devil,” which scored the band its only hit and was covered by everybody from Judas Priest to Girlschool to Black Oak Arkansas. And, finally, take a gander at that incredible front cover artwork…yes, that is the maiden album illustration of one Roger Dean, whose otherworldly creations graced the covers of many a Yes album cover (Yes vocalist Jon Anderson was for a short time a Gun member, in fact).

Armed with such a collection of talent, and a dazzling stylistic breadth that ranged from psychedelic to hard rock to mod to Procol Harum-esque prog, it’s little wonder that Gun has seen multiple reissues, but it’s been about 30 years since it’s been available on vinyl. This new limited edition (of 1000) “red devil” vinyl pressing presents the original artwork intact.

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