Monthly Archives: June 2019

The DC Record Fair Summer 2019 Edition comes to the Eaton
DC, 6/30

Back in its 10th year is Washington, DC’s twice yearly record rummage, The DC Record Fair which comes to Washington’s vinyl and community centric Eaton Hotel on Sunday, June 30, 2019. 

As with each event, we’ll have 40+ vinyl vendors from up and down the East Coast, the special DJ line up, the bar, food—and hey, keep your wallet in your pocket for this one as the event is free of charge for the entire day.

Our friends at the Fillmore Silver Spring put together the above feature a little while back that provides a handy overview of the event for the uninitiated.

The DC Record Fair Summer 2019 DJs:
11AM – 12PM – Anna Connolly
12PM – 1PM – Crown Vic’s Weird World with Area Woman
1PM – 2PM- Marcelo Bentine (BaTiDa! DC)
2PM – 3PM – D-Skillz
3PM – 4PM – Kenny Megan
4PM – 5PM – Les the DJ

Mark your calendars! 

Sunday, June 30, 2019 at the Eaton DC, 1201 K Street, NW DC
11:00AM–5:00PM—and free all day!

RSVP and follow via the Facebook invite!

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TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

Once upon a time there was a tavern / Where we used to raise a glass or two / Remember how we laughed away the hours / And think of all the great things we would do

Those were the days my friend / We thought they’d never end / We’d sing and dance forever and a day / We’d live the life we choose / We’d fight and never lose / For we were young and sure to have our way

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TVD Live: The Minus 5 and Dot Dash at the Rock and Roll Hotel, 6/25

PHOTOS: RICHIE DOWNS | The recovery from a stroke in 2017 remains a source of celebration surrounding rocker Scott McCaughey. He’s surrounded by musicians who have been friends of his for years, is writing slightly more reflective songs following his brush with mortality, and still rocking out with a verve that may surprise even him. Fronting the latest version of The Minus 5 at the Rock & Roll Hotel in Washington, he flitted between his band’s latest collection, Stroke Manor, some sturdy classics from the band’s past, and some choice covers.

Only last month he and three others from the current band were in town as part of another group, Corin Tucker’s pointedly political Filthy Friends. And here again, like a personal support committee, were guitarists Peter Buck and Kurt Bloch and terrific drummer Linda Pitmon. To them were added Joe Adragna on vocals (and a fourth guitar, albeit acoustic) and Mike Mills on bass. To back McCaughey’s sometimes thin vocals, everybody but the hangdog Buck chipped in with harmonies. Having both Buck and Mills—fully half of R.E.M.—on a small stage was a throwback to the early days of their famous Athens band (McCaughey was supplemental musician on a lot of their final tours so the pedigree went even stronger).

Still, who expected them to ring out a version of “(Don’t Go Back to) Rockville” with Mills on lead vocals, to start the encores, a thrilling little rock moment in a club. It was one of a few very well-chosen covers of the night. They had been pairing the doleful “Beatles Forever” with that band’s “Nowhere Man,” which sounds pretty good live with Buck picking the 12-string Rickenbacker. But McCaughey veered from his planned set by adding the Kinks’ “Where Have All the Good Times Gone?” which took a minute for everyone to recall the chord changes.

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TVD Live Shots: Riskee and the Ridicule at The Black Heart, 6/22

Ah, the joy of going to an album release show for a band that is primed to be the next big thing out of the UK. It’s a rare thing these days to catch a band just before they explode and I just caught lightning in a bottle last week at the legendary Camden Town rock ‘n’ roll shop The Black Heart.

Ashford based Riskee and the Ridicule came onto my radar a bit last minute as the record was sent to me along with an invite for the show. I get a ton of links to records and videos alike, but when a publicist with a stellar track record recommends something, I take a listen. The next question is always, when’s the London gig? Friday? Too perfect, I’m there.

Riskee and the Ridicule blasted onto the stage to a full house celebrating the release of their stellar new record Body Bag Your Scene which sees its worldwide release today. The energy in the room matched the explosiveness of the new album perfectly, and I’m so glad that I made it to this gig.

These guys have crafted their own over-the-top style over the years, but on the new album they take it up a notch. That sound falls somewhere between The Dropkick Murphys, The Clash, and Eminem, bringing together the angst and fury of punk with street smart storytelling tackling issues of addiction, depression and more. The new record hits hard out of the gate with tracks like “Accelerate” and the insanely catchy “Kaboom,” but it keeps your attention with stories of self-destruction and hope brought to life through another standout track “In the Dark You Dwell.”

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TVD Radar: Cabaret Voltaire, Chance Versus Causality and 1974-76 reissues in stores 8/30

VIA PRESS RELEASE | Cabaret Voltaire have announced the release of their 1979 soundtrack, Chance Versus Causality, which will be available officially for the first time since the film’s release. Chance Versus Causality will be out on limited edition transparent green vinyl, CD, and digital formats on August 30 via Mute

On the same day, 1974-76 will get its first vinyl release. The album, originally released on cassette via Industrial Records in 1980, was reissued on CD by The Grey Area of Mute (a division of Mute dedicated to reissues) in 1992 and will be available on limited edition transparent orange double vinyl and digital formats. 1974-76 is a selection of material recorded by Cabaret Voltaire in their formative years. Recorded in Chris Watson’s attic on a domestic reel-to-reel tape recorder, a number of the recordings were included in the now legendary limited edition cassette released by the band in 1976. Pre-order Chance Versus Causality and 1974-76 here.

Chance Versus Causality was recorded in 1979 as the soundtrack for director Babeth Mondini’s film of the same name. The band originally met Mondini at the infamous Brussels Plan K show which saw Joy Division, Cabaret Voltaire, and William Burroughs share a bill, and soon after, Mondini asked them to create the soundtrack for her film. Chance Versus Causality was improvised in a similar vein to what the band refer to as their live “ambient sets” which are described as having “less rhythm, more tape.” The soundtrack was recorded live by the original Cabaret Voltaire line up—Richard H. Kirk, Stephen Mallinder, and Chris Watson—at the band’s Western Works studio with no prior knowledge of the film or instruction from the director.

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Needle Drop: Andy Kong, “Westfalia”

Blending influences across genres and decades, Cali-based singer-songwriter Andy Kong produces an evocative blend of Americana and electronica.

His newest single release, “Westfalia,” is a charming slice of indie pop that is an ideal addition to any wanderer’s road trip playlist. What makes it more impressive is that the dialed-in aesthetic of the song was created without any external input, produced from scratch by the youngster who clearly has a defined artistic vision for himself.

The breezy beat and mellifluous vocal mingle to create a unique and relaxing vibe that lands somewhere between James Blake and James Bay. According to Kong, “‘Westfalia’ is the exhilaration of driving with the windows down on a sunny day. The freedom of letting it all go. Or the simplicity of spending time just relaxing with friends.”

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The TVD First Date

“My first experience with vinyl was with Utopia’s Deface the Music.

“I was 14 and was just trying to write songs, but the only way I knew how was to mimic The Beatles. I learned every part of every song and even had impressions of each Beatle. One day I heard a sarcastic little tune with thumpy drums coming from my basement: “I just want to touch you… do you want to touch me tooo.” I ran downstairs.

“Dad, WHAT Beatles record is this?”

He goes, “It’s Todd (Rundgren).” He hands me this old, dusty record with four shaggy dudes dressed like (but definitely not) The Beatles. It was perfect.

Then I learned the whole back story. Todd built his career on giving labels the middle finger. He had a side project called Utopia, and after turning in a single to the label, they said it “sounded too Beatles-y,” so he made a whole record mimicking The Beatles.

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Graded on a Curve:
Carole King,

Carole King is a paradoxical figure; having begun her career as an assembly-line songwriter with then husband Gerry Goffin at the famed Brill Building, where the couple collaborated on a number of highly successful songs for other artists, she went on become an archetype of the sensitive singer-songwriter–that avatar of authenticity who wouldn’t be caught dead singing songs written in the musical world’s equivalent of an automotive factory.

King’s move from West Orange, NJ to Laurel Canyon in 1967 was more than just a geographical one; insofar as it symbolized her transformation from song craftsman for hire to soul-barer, it made King–along with the likes of James Taylor and Joni Mitchell–the perfect embodiment of the soul-searching Me Generation.

King’s turn toward self-expression was well in tune with the zeitgeist, as was proved by the supernatural success of her second solo album, 1971’s Tapestry. Every sensitive soul in America owned a copy, including the two spinster ladies–they were probably only in their late twenties–who ran the Catholic Youth Organization meetings I attended as a teen, that is until it finally struck me that (a) I wasn’t even Catholic, but was only there to woo my first love, and (b) could be having a much better time doing drugs.

How many nights did I listen to Tapestry while looking at the cover and thinking “Why is her hair so frizzy? Why isn’t she wearing shoes? And what is that goddamn cat’s problem?” And for a long time afterwards, having abandoned King and the school of genteel singer-songwriters in general for the electric thrills of David Bowie and Frank Zappa, I chuckled at my silly and naive thralldom to the mild comforts and gentile thrills of this snug and familiar quilt of an LP.

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In rotation: 6/28/19

London, UK | There’s a new record store opening in East London: After almost a year in Tottenham, Kristina Records will soon return to Hackney in east London. Kristina Records closed their Stoke Newington store last year, before moving temporarily to multi-purpose venue The Cause in Tottenham. Announcing the news on Instagram yesterday, Kristina Records founder Jason Spinks said that the new store at Well Street near Hackney Central “will be up and running ASAP“. Earlier this year, ACC Art Books published a book that takes you inside London’s record stores. Brooklyn in New York welcomed two new record stores in Spring this year.

Toronto, CA | Toronto record shop Invisible City closes physical storefront ‘indefinitely’: “We’re looking for a new home now, and we hope to be back up and running soon,” the owners say. The record shop and label announced the move in an email today, adding that they will continue selling records online while they look for a new location. “The business we were sharing the space with has decided to go in a different direction that does not include us anymore,” the owners wrote in an email today. “We’re looking for a new home now, and we hope to be back up and running soon!” Meanwhile, the online record shop will be business as usual. Specializing in funk, disco and soul (especially from Africa and the Caribbean), Invisible City opened for business in November of 2016, as an offshoot of the reissue label Invisible City Editions. Cofounder Brandon Hocura also split off from Invisible City in 2017 to start his own online store and label, Séance Center.

Gallatin, TN | Gallatin officials to decide next steps for ‘dangerous’ Randy’s Record Shop building: City officials are allowing advocates of a historic record shop a little more time to present a more ‘viable’ plan to restore Randy’s Record Shop, a building that officials deemed dangerous and which could be demolished. Gallatin City Council members tasked representatives of the Historic Randy’s Record Shop Foundation, a nonprofit organization aiming to save the historic landmark, with coming up with a better plan to save the two-story former record shop with a caved-in roof and asbestos found in its material…Randy’s Record Shop opened in 1946. In its heyday, it was the largest mail-order record store in the world in the 1950s and 1960s, established by Randy Wood. Among other historic milestones, Wood also founded Dot Records from the record shop, and the label featured Pat Boone, Johnny Maddox, Roy Clark and other artists over the years. Wood died in 2011 at age 94.

Sacramento, CA | The next hunt: As Dimple Records plans to close, mom-and-pop shops thrive. For the last decade, Dimple Records has been Neil Vann’s hunting ground for classic rock and heavy metal CDs. “I have these lists I’ve been going through for years, and I just cross them off,” Vann said inside the Dimple Records on Broadway, showing several crumpled papers lined back-to-front with album names. “It’s been a hobby to rummage through all the stuff and see what you find.” Vann is one of many customers who professed a love for LPs and CDs and Dimple Records, the 45-year-old chain that announced on June 18 that it would close all seven locations after selling their inventory. Owners John and Dilyn Radakovitz told the Sacramento Business Journal that factors for their decision include declining sales and the increasing California minimum wage.

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TVD Live Shots: Candlebox at the O2 Islington Academy,

I was a teenager in the ’90s growing up in the Midwest of the United States and I remember the exact day and time when grunge single-handedly killed hair metal. It was during an episode of MTV’s Headbanger’s Ball and host Rikki Rachtman had just finished introducing Motley Crue’s “Don’t Go Away Mad” as the number one Skullcrusher of the week (yeah, I know). Rachtman declared to the viewers, “I have a new band from Seattle that I think you all are going to like, they are called Nirvana.” This was the nail in the coffin for bands like Poison and Warrant, but it paved the way for a new breed of rock ‘n’ roll.

While Nirvana, Soundgarden, and Alice in Chains owned the harder edge of the genre, there was room for a band to step in and bring a bit of soul to this new sound. That band would be Candlebox. Their debut self-titled record is arguably one of the best debuts of the era and it stood out from its peers because of one man, Kevin Martin. The first time I saw the band was during a promotion for Jolt Cola, an overly caffeinated drink that was all the rage with rebellious teenagers at the time. If you brought a bottle cap from the drink to the venue (the famed Mississippi Nights in this case) you could get in free.

There were about 20 people at the show that night as the album had just been released and it was just beginning to get traction. I remember the band being on stage but missing their singer, literally calling out to the crowd, “Has anyone seen our singer Kevin?” Several minutes later said singer comes waltzing through the crowd unassumingly as if he’s at his own house party with high school friends. Seconds later as he grabs the mic, history would change once again with one of the most electric and dynamic performances that I’ve seen.

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TVD Radar: Arlo Guthrie, Alice’s Restaurant OST 50th anniversary reissue in stores 8/23

VIA PRESS RELEASE | Arlo Guthrie’s LP Alice’s Restaurant — particularly the (near-) title track — became a counterculture touchstone when it was released in 1967, the same year as director Arthur Penn’s heralded film Bonnie and Clyde. Two years later, Penn would bring Alice’s Restaurant to the big screen, starring none other than Arlo himself. Penn received an Oscar® nomination for his direction.

The soundtrack featured a new recording of “Alice’s Restaurant Massacree” as well other songs and music cues from the movie. It was expanded on CD in 1998 with even more material. For the film’s 50th anniversary, Alice’s Restaurant: Original MGM Motion Picture Soundtrack (50th Anniversary Edition) returns on both a further CD and 2-LP set, due out on Omnivore Recordings on August 23, 2019. This new version contains all of the material from the 1969 and 1998 editions (while retaining the 1969 sequence), but also adds a previously unissued, live, 24-minute take, “Alice’s Restaurant: Multi-Color Rainbow Roach Affair,” from 1968. That’s 12 tracks making their vinyl debut!

Packaging contains photos, images from the film, and liner notes by writer Lee Zimmerman (author of Americana Music: Voices, Visionaries & Pioneers of an Honest Sound), and features a new interview with Arlo. While Arlo is perpetually on tour, one can be sure he’ll play some of the favorites from this release as he celebrates this milestone anniversary of the film and album.

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Jess Clinton,
The TVD First Date

“I had always been fascinated by the small stack of records in my father’s backyard recording studio.”

“I loved how big and square the covers were—being a kid obsessed with visual art at the time. The large black disc that slid in and out perfectly sized, and the smell of the slowly softening dust-jackets that clocked in with a scent just a few decades younger than the sweet musk of grandma’s house.

Dad showed me which of the LPs were those of his first bands upon moving to Los Angeles in the 1970s. Timber, the Volunteers, The George Clinton Band (copies of which can be found unseldomly and understandably miscategorized in the funk section of many a record store nation-wide). The soundtrack to a questionable 1980 biblically-inspired rock musical in which he had an integral part. In conjunction, this was when I first heard the term “cult following.” Eager to explore these new sound eras for myself, I was disappointed to hear that while the records remained, we had, in fact, no means to play them.

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TVD Premiere: Gallery 47, “Weeklong”

It’s been quite a while since we featured young singer-songwriter Gallery 47 here at TVD, so it gives us great pleasure to share this exclusive with you today! His latest single “Weeklong” is his first official release of 2019 and its premiering right here, right now!

“Weeklong” has more of a classic rock feel than Gallery 47’s previous work, but that’s certainly not a bad thing. With a full band behind him, Jack’s warm, softs vibrato is filled with colour and a power that we haven’t really heard from him before. It makes sense that Gallery 47—aka Jack Peachey—has decided to change things up a bit, as the whole folk/singer-songwriter thing is starting to get a bit old isn’t it? With “Weeklong” Jack has stepped out of his comfort zone and it’s certainly paid off in our eyes. Fans of the likes of Canned Heat and Easyworld will feel at home here.

On the single, Jack elaborates, “‘Weeklong’ is a simple track which deals with the personal side of trying to make it in the music industry. Nobody knows quite how to treat you, and a lot of the time it ends up being down to how valuable you’re being perceived at the time. Anyone aspiring to achieve anything has to be willing to drop the rational anchors of stable life when a decent chance comes along, but as quite a cautious and cynical person I’ve often found it stressful to deal with that level of risk.

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Graded on a Curve:
New in Stores for
June 2019, Part Four

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

NEW RELEASE PICKS: Abdullah Ibrahim, The Balance (Gearbox) South African-born pianist Ibrahim, formerly known as Dollar Brand, has been on the scene for decades, cutting his debut LP as part of the sextet the Jazz Epistles (alongside Hugh Masekela) in 1959. I’m not anywhere close to hearing all of his work, but my favorites would include his numerous early solo piano sets and an informal series of duos, including with Argentinian saxophonist Gato Barbieri, fellow South African bassist Johnny Dyani, and two with greats from the US scene, drummer Max Roach and saxophonist Archie Shepp. Ibrahim’s ’60s trio work has also struck my ear, and I recall liking his ’76 effort Banyana – Children of Africa with bassist Cecil McBee and drummer Roy Brooks, though it’s been a long time since I sat down with that one.

I’ll confess to being less familiar with his later stuff (’80s and forward), though I do enjoy his soundtracks for Chocolat and No Fear, No Die, the first two features by Claire Denis (a director born in Paris but raised in colonial French Africa). This is his first album in four years, and at age 84, Ibrahim’s prowess is still quite sharp. Indicative in the record’s title is a sort of heightened beauty through interconnectedness that never succumbs to insubstantiality, even as the opening track features Cleave Guyton Jr.’s flute and is titled “Dreamtime.” Adding weight throughout the album is Marshall McDonald baritone sax, especially in the meaty “Tuang Guru.” Andrae Murchison’s trombone is sweet, as well. The buoyant up-tempo “Jabula” is an immediate highlight, but everything goes down wonderfully. A

REISSUE/ARCHIVAL PICKS: Catherine Christer Hennix, The Deontic Miracle: Selections from 100 Models of Hegikan Roku (Blank Forms Editions / Empty Editions) The discography/ bibliography of Swedish-American composer Catherine Christer Hennix is undergoing a considerable expansion. Noted as part of the NYC minimal drone avant-garde scene, for a long time the only place to hear her work (credited as C.C. Hennix) was on the recordings of Henry Flynt; she contributes tambura to C Tune, Purified By Fire and is co-billed as drummer on Dharma/Warriors. All three were released by Locust Music in the first decade of the 2000s, though the recordings date from 1980-’83. However, in 2010 the Die Schachtel label released the CD/ book The Electric Harpsichord. It was, as they say, revelatory.

Recorded in 1976, The Electric Harpsichord is dedicated to the memory of Ṥṛi Faquir Pandit Pran Nath (who passed in 1990) and includes poems by La Monte Young and a liner enthusiasm from Glenn Branca. This should provide a few clues from where Hennix’s vast thing derives. The music on this release, two long tracks, each divided in two across four sides of vinyl and totaling nearly an hour and 25 minutes, also dates from ’76 and was created by her group The Deontic Miracle, a trio of Hennix, her brother Peter and Hans Isgren. Based on the concept of just intonation, fans of the Theater of Eternal Music should consider this a must. It follows Blank Editions release last year of Hennix’s Selected Early Keyboard Works (also dating from ’76) as two books of her writings are on the horizon. Outstanding. A+

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In rotation: 6/27/19

Valdosta, GA | Remerton record store remembers the King of Pop: Millions remembered the King of Pop as Tuesday marks the ten year anniversary of Michael Jackson’s death. A decade after his passing and the singer remains a household name with fans crossing generations. Le’Shawn Taylor owns Vibes & Stuff Record shop in Remerton. He said Michael Jackson albums remain among his top sellers. It’s a trend he doesn’t think will slow down anytime soon. “He’s just the artist of first. He’s like the Michael Jordan of pop music, if that makes sense,” Taylor said. “Once they reach that level they’re more of a brand, once you’re world wide, you leave an impact.” Taylor said he always keeps some of Jackson’s most famous albums, like Thriller, on hand, because of its timeless interest of fans of all ages. He said he also offers work by modern hip-hop artists that he can hear were inspired by Jackson.

Manchester, UK | A Factory affair: Inside Tony Wilson’s record collection: Since his death, the record collection belonging to Tony Wilson – co-founder of Factory Records and the Haçienda – has been stored in an archive. With his new book, A Life in Thirty-Five Boxes, exploring the impulse behind collecting vinyl records, DJ and writer Dave Haslam gained exclusive access to the archive to share a few highlights. I recently had the honour of viewing a vinyl collection belonging to the late, great Tony Wilson. Looking through the records felt like an intimate act. His son, Oliver, told me he’d decided not to accompany me, as the occasion was likely to be “too emotional”. Tony, who died in 2007, was an influential broadcaster on Granada TV, a co-founder of Factory Records, and the Haçienda. He was a man who gave opportunities to musicians, DJs, and young creatives of all kinds, always believing in Manchester

Los Angeles, CA | Amoeba Music Set to Be Torn Down, Replaced With Complex After L.A. Council Votes to Approve Zoning Changes: The John Ferraro Council Chamber at Los Angeles City Hall is hardly the most artistically expressive of places, but on Tuesday, the room played host to an event that will have real world consequences for generations of music fanatics. The City Council voted to approve zoning changes that will clear the way for the development of a 26-story complex at the site of the Amoeba Music store at the corner of Sunset and Cahuenga boulevards in Hollywood. The move cements the fate of the distinctive building and fuels further speculation on the future of the city’s biggest record store. Amoeba will be moving. Where to, however, remains anyone’s guess. The retailer’s Hollywood location, which opened to great fanfare in 2001, has been in a kind of holding pattern since news of the possible development came to light a few years ago. The store sold the building to developer GPI Cos. in 2015 for $34 million.

Petal Explains How Streaming Services and Major Labels Hurt Indie Artists and Record Stores in Twitter Thread: Earlier this week, news broke that streaming service Spotify had reportedly overpaid artists in 2018 and was asking for a refund. To many artists, Spotify’s stance was a slap in the face; not only does the platform offer only the paltriest of royalty payments, but now their corporate greed was exceeding themselves. With this in mind, indie rocker Kiley Lotz (of the band Petal) took aim at the corporation in a Twitter thread Monday, making some thought-provoking points and raising interesting questions about the state of the music industry. Her main takeaway is that major labels and distributors are cooperating with streaming corporations in a process that hurts not only independent artists, but also local record stores. “In the streaming age, the best thing labels can do is sell directly to independent record store [sic] and foster those relationships. If you hear a record you like on Spotify, go to their bandcamp or to the record shop and order/buy it,” one tweet reads.

Ben Swank explains how Third Man Records give back to their most dedicated fans: …Living up to the label’s motto of “your turntable’s not dead”, Third Man is about the music, first and foremost, with Swank explaining that the label’s focus is on artists who share the same desire that they do. “You just try to work with people that you care about and artists that are just excited to be there,” Swank explains, noting that this same attitude led to the creation of a physical location for Third Man Records. “It largely started as a way for Jack to get his music out, and 10 years ago some of those early recordings, their licensing was beginning to revert to him. “So that gave him the idea of finding a physical location in Nashville to house all his gear and equipment and everything. Then the idea became, ‘let’s start a physical space and have a physical storefront, and sell some rare 45s here and there’. “And from there, the ideas spilled over, […] other ideas started firing off, and things just got bigger.”

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