Monthly Archives: December 2019

In rotation: 12/9/19

UK | HMV faces the music in Christmas crunch test: Since Doug Putman rescued UK music retailer HMV in February, he has thrown himself wholeheartedly into running a transatlantic retail empire. The Canadian businessman has found himself jetting back and forth between his Ontario-based Sunrise Records chain and his newer acquisition. On average, he spends one week a month in the UK. “I must do about 500,000 air miles a year,” he says. Now he faces his latest challenge, the all-important Christmas period. “That’s crunch time,” he says. “All the hard work you do for 10 months of the year, that period is when you see it come to fruition and you see how good a job you did.” A lot is riding on the chain’s performance over the festive season. HMV has twice fallen into administration, in 2013 and 2018, and Mr Putman acknowledges that many people didn’t expect his relaunch to last six months.

Washington, DC | Dropping the Needle: The Resurgence of Vinyl. An Odyssey Through DC Record Shops. …The way a record is made is one of those ordinary miracles that one is simply accustomed to. Mixed sound is played into a record cutting lathe where the sound waves move a needle head, cutting grooves into a thin lacquer disc. The depth of the grooves represents the shape of the sound-wave. Then the lacquer copy is used to make a stamper, a perfect negative image of the record made of metal with ridges instead of grooves. The stamper is loaded into a hydraulic press, pushed into soft vinyl, and that becomes the record. From there the record’s needle rests on the ridges and the needle’s movement shakes a magnet inside a coil of wire which induces a fluctuating electric current. The current travels to a speaker, which converts electrical signals into kinetic movement, in turn creating the music.

Saskatoon, CA | The Vinyl Diner changes hands, but keeps its spirit: “There just has to always be a record store on Broadway,” McKay said with a laugh. “How could there not be?” Past the poster-plastered stairwell there’s a record spinning in the corner; people sifting through row upon row of wax; a couple chatting with the owner. But the Vinyl Diner has always felt like a sanctuary for audiophiles, a place where the only noise is the stuff you want to hear. Stewart “Stu” Cousins has run this shop for 24 years, after his wife convinced him to quit a Toronto advertising gig to open a record shop in Saskatoon close to her family. “We came here in winter because my wife didn’t want to pull the wool over my eyes,” Cousins said with a laugh. “It was freezing. December, -15. I got the real Saskatoon.” Since 1996, Cousins has built the Vinyl Diner into a Saskatoon institution — and now, he’s ready to pass the torch to good hands.

Des Moines, IA | The Return of Vinyl: …Steve “Ratt” Ratcliff, owner of “Ratt’s Underground Rock Shop,” located in Merle Hay Mall, has owned his store for 10 years. Ratcliff is not only here for the comeback, but he lived through the era of punk rock, which he claims has the fans who kept vinyl alive all these years. He’s been listening to records since he was a young boy, so he never knew a life without them. Ratcliff’s store consists of vintage goods, with the exception of a few newer patches and local band CDs. He has vintage clothing, CDs, cassettes, 8-tracks, posters, autographs, buttons, and most importantly a huge selection of vintage vinyl records. Not having newly-pressed records is important to Ratcliff because original pressings “have the best sound, an authentic sound. New vinyl doesn’t have that original sound.” Because remastered versions of old records and modern records are pressed using digital audio, the sound isn’t quite the same as the original pressings.

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TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

Goin’ back to the time when I didn’t need a thing / Just the tappin’ of my foot and a little song to sing / That’ll do just fine / Yeah that’ll do just fine / And maybe? / Tell me where I go, tell me where I come / Take me anytime you like hon’ / Take me as I am or as who I might become / Never ever ever goin’ back / Never ever ever goin’ back…

In a meeting this week, my music biz boss mentioned that “December is a weird month.” Tyler was referring to how the holidays effect the ebb and flow of the our business in the lead up to them.

In truth, everything I’m doing has been effected by the practical and emotional understanding that the year—and in fact the decade—is coming to a close. I often wake up feeling like a marathon runner coming to the end of a tough race. I seem to wage an internal struggle between hope and remorse. As 2019 draws the decade to a close, hope is winning—thanks to music. Its sounds literally inject my DNA with love and compassion.

These last few weeks I’ve been listening intensely to all the of the songs that have helped me make it through 2019. In fact, many of them are songs from the last ten years. And, in my 50s, I often ask my myself questions.

Where has it all gone?

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TVD Live Shots:
Liam Gallagher at
the O2 Arena, 11/28

There are few genuine rock stars left in this world, but Liam Gallagher is undoubtedly one hundred and fifty percent in that club. He’s got the legacy, the attitude, the adoring fans, and most importantly, the songs. Not shy to say exactly what’s on his mind at any given time, he’s no stranger to controversy—one could say that Gallagher is the personification of “it says what it does on the tin.”

This would be my second time seeing Liam Gallagher in London and it was arguably his best. The second to last show of the year was a fitting end to confusing time for the UK, but what better music to bring everyone together than this man’s impressive catalogue?

2019 saw Gallagher return with his second UK number one album, the brilliant Why Not, Why Me, and with a subsequent tour that finds Gallagher at the top of his game once again—and the marketing campaign and launch were equally as brilliant. Gallagher has rediscovered how to take control of his brand, changing the direction of his narrative and expressing himself creatively outside of the music itself.

It’s made him the most engaged and engaging of the two Gallagher brothers–and that’s something few people would have predicted when Oasis split a decade ago. Gallagher’s marketing masterplan is a perfect example of how to apply old-school craft and creativity in a world of social media, AI, constant scrutiny, and radical transparency. It shows how modern marketing works best as a balancing act between the old and the new.

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Demand it on Vinyl: Cream, Goodbye Tour – Live 1968 4-CD box set
in stores 2/7

VIA PRESS RELEASE | “Cream was a shambling circus of diverse personalities who happened to find that catalyst together… any one of us could have played unaccompanied for a good length of time. So you put the three of us together in front of an audience willing to dig it limitlessly, we could have gone on forever. And we did—just going for the moon every time we played.”Eric Clapton

UMe is delighted to announce the 4-CD, special edition of Cream’s Goodbye Tour Live 1968. Set for release on February 7, 2020, this sumptuous set brings together 36 tracks, including 29 making their first appearance on CD, recorded during Cream’s farewell tour of the U.S. in October 1968 and their final UK date at London’s Royal Albert Hall on November 26th of that same year. There are a total of 19 previously unreleased tracks, and a further 10 tracks from the Royal Albert Hall show, which have only ever been available on DVD. Rolling Stone magazine’s David Fricke supplies insightful liner notes, chronicling the group’s collective musical genius and their legendary final tour.

For all pre-orders, there will be free downloads made available starting today with “Sunshine Of Your Love” (Live At Oakland Coliseum Arena, California / 1968), followed by “Crossroads” (Live At The San Diego Sports Arena / 1968) on January 13, 2020.

On its original release in February 1969, Goodbye, which combined live performances from their last tour dates with a handful of studio recordings, rose to the U.K. No. 1 slot and to No. 2 on the U.S. Billboard chart. This new expanded edition comprises three U.S. concerts; Oakland Coliseum, Los Angeles Forum, San Diego Sports Arena, alongside London’s Royal Albert Hall. It captures Cream at their virtuosic best, at the end but also at the height of their career.

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TVD Radar: Doris Day, With Love vinyl reissue in stores now

VIA PRESS RELEASE | “Day is memorialized with this charming album. Les Brown Jr. painstakingly restored these easy-going, relaxed vocal tracks.”UK Express

Hindsight Records in partnership with Select-O-Hits released With Love, featuring rare recordings from the great Doris Day. Now, the timeless recordings are available on collector’s edition vinyl, a beautiful four-panel tribute to the legend. The incredibly intimate and authentic recordings from 1952 and 1953, including The Page Cavanaugh Trio, were not previously available for release and were originally created for radio broadcast use.

Doris Day was the quintessential girl next door who became one of the most successful Hollywood actresses. She started as a big band singer in the late 1930s producing such chart-toppers like “Sentimental Journey” and “My Dreams Are Getting Better All the Time.” Day’s film career launched after World War II, with key roles in Calamity Jane (1953), Love Me or Leave Me (1955), Alfred Hitchcock’s The Man Who Knew Too Much (1956) and Pillow Talk (1959) — the last of which got her Oscar-nominated for Best Actress. In her later years she devoted her time as an animal rights activist before she died at 97 May 13th in Carmel Valley Village, California.

With Love album producer John F. Forbes was enthralled when asked to participate in creating a new work to honor Doris Day’s legacy: “With over 30 years as a major label Pop / R&B music director and producer, as well as producing music for the hit Broadway musical Love Jones, I felt I had the experience and passion necessary to create the album with orchestra for Doris Day,” said Forbes.

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TVD Radar: Chris Franz, Remain in Love: Talking Heads, Tom Tom Club, Tina in stores 5/12

VIA PRESS RELEASE | The inside story of Talking Heads by their drummer and co-founder. At its core is Frantz’s romance with bassist Tina Weymouth, with whom he not only formed a life but a second band, Tom Tom Club.

One of the most iconic bands of the ‘70s and ‘80s, Talking Heads distinguished themselves from the ultra-cool Rolling Stones, the chaotic Sex Pistols, and glam rockers like David Bowie. They burst onto the scene when Frantz’s girlfriend Tina Weymouth taught herself to play bass and joined him and lead singer David Byrne, playing at CBGBs and touring Europe with the Ramones. Their hits from “Psycho Killer” to “Burning Down the House” to “Wild, Wild Life” captured the post-baby boom generation’s intense, affectless style. Their Jonathan Demme-directed concert film Stop Making Sense remains a classic. Frantz’s and Weymouth’s creativity surged with Tom Tom Club, bringing an Afro-Caribbean beat to their fresh hits like “Genius of Love.”

Remain in Love is studded with memorable names from the era: Grace Jones, Andy Warhol, Stephen Sprouse, Lou Reed, John Cale, Richard Hell, Twyla Tharp, Brian Eno, Debbie Harry, and many more. Beautifully written with immersive vivid detail, the book moves from the rooms where the songs were made―including Providence, RI and the Chrystie Street loft Frantz, Weymouth, and Byrne shared―to the meals eaten and the clothes worn, right to the dynamics of a long and complicated working relationship with a mercurial frontman.

With the sense of place and time that characterized Patti Smith’s book Just Kids, Remain in Love is as frank and open as autobiographies from rockers Neil Young and Keith Richards.

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In rotation: 12/6/19

DeKalb, IL | Record store provides local artists’ music: Green Tangerine Records, known for its sales of various music genres, is exposing customers to local underground artists by selling their music in the store. Sara Mohr, a College of DuPage student and Green Tangerine Records customer, said she appreciates the store’s variety of records from bands like Nirvana to local music. Mohr frequently visits the store, located at 838 W. Lincoln Highway, and when she discovers new music there, she feels original. “It’s important to recognize smaller artists and their music; it’s important to encourage people to keep creating,” Green Tangerine co-manager Terri Ainger said. About 9 years ago, the store started selling local music, Ainger said. The store’s decision to sell local music began at its original location in Cortland, about a 7-minute drive, from DeKalb.

Barrow in Furness, UK | Family business in Barrow wins ‘Record Shop of the Year’: A record shop in Barrow-in-Furness has been named the UK’s ‘Record Shop of the Year 2019’ just 12 months after opening. TNT Records were awarded the prize by Long Live Vinyl magazine after customers voted for the shop in an online competition. Owner and founder Dave Turner said the win came as a huge surprise to him. “It’s been a crazy first year for us, but being recognised as the best record shop in the whole of the UK is something that I could never have expected. “It’s obviously thanks to our amazing customers that we won the public vote, and they are the whole reason we have been successful this year. “When we opened we wanted to just give the people of Furness a decent record shop because there is nothing like this within about two hours of here – and the people have shown us nothing but support from day one.”

UK | A very Black Friday: how the fetish for vinyl is sending prices soaring: The popularity of Record Store Day – and its Black Friday edition – is turbo-charging the collector mentality at the expense of the average buyer. In the UK, it didn’t take long for Black Friday – a sales event pegged to Thanksgiving in the US – to go from novel to normal. Its impact on the music industry has been less conspicuous than the gaudy discounts toted by mainstream retailers, but no less significant. Founded in 2008, Record Store Day (RSD) proper takes place every April; in 2010, its American organisers introduced RSD Black Friday, intended as a celebration of independent shops and special-edition records as the antithesis to the corporate frenzy. “Cheapness is not a main goal,” they explain. “Celebrating art is.” Their choice of words is telling. RSD Black Friday has also made it to the UK in recent years: at my local record shop last week, people queued for the 8am opening to snag the nearly 100 special releases.

Birmingham, AL | Charlemagne Record Exchange, a fixture of Birmingham’s Southside, closing after 42 years: Marian McKay Rosato, owner of Charlemagne’s Record Exchange, remembers a very different Five Points South than the one that exists today. In the late 1970s, parts of the neighborhood were somewhat rundown and unsafe, Rosato said. But all the business owners knew one another, from the long-gone Little Bombers Lounge to Rosato’s Charlemagne Record Exchange, which has occupied the same spot on 11th Avenue South since 1977. Today, the area is very different. Many corporate-run chain hotels, restaurants and shops occupy the spots once held by local businesses. With those changes came rising rent costs, something that damaged the longtime record store, especially over the last two years. Rosato said that in the last two-year lease she signed, rent on the building increased another $250 per month in the first year and, by this year, had risen to an additional $400 per month. “The rent was considerably higher…”

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TVD Live Shots:
Snoop Dogg, Berner, Warren G, and RJMrLA at the Fillmore, 12/2

No one can throw a party like Snoop Dogg—just ask anyone who packed the way-sold-out Fillmore in San Francisco for the kick off of his “I Wanna Thank Me Tour.” By the time opener RJMrLA took the stage, the wait staff was already hitting a feverish stride as the drinks flowed and puffs of smoke rose above the crowd as folks pondered the stripper poles that flanked either side of the stage.

The great thing about rap shows is the minimal change-over between sets—swap out a DJ and a microphone and the next act is up, so the momentum was never lost as the legendary Warren G picked up the mic in front of a room that was well-versed in his material and happy to play along.

Local boy Berner kicked things up a notch, striding on stage with a fat joint which he was more than happy to share with the front row. Afterall, what better way to market your own brand of weed than sharing it with a captive audience—even going so far as tossing out bags of his signature strain while instructing the fans to “roll it and share it” which is indeed what they did.

By the time Snoop took the stage a tad before 10 PM, there was a cloud hanging over the now-baked crowd—there was simply no escaping the inevitable contact high. With a microphone in his right hand and a joint in his left, Snoop proceeded to wow the crowd which by then was clearly pushing the capacity limits of the venue where a squadron of firemen and body-cammed police could be seen in the back trying to look concerned but obviously enjoying the spectacle as a pair of pole dancers made impressive use of the aforementioned stripper poles.

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TVD Radar: Gary Moore, Live From London blue and orange 2-LP set in stores 1/31

VIA PRESS RELEASE | The career of Gary Moore was a jagged timeline, full of twists, turns and wild tangents. And yet, through it all, the Irishman never lost faith in the power of live music. On December 2nd, 2009—just fourteen months before his tragic death aged 58—the fabled guitarist played a special one-off club show at London’s Islington Academy. Now, 10 years later Provogue, a division of the Mascot Label Group, will be releasing this never before released recording, Live From London on January 31st, 2020.

As adolescence hit, Moore fell headlong into the blues flavors that dominate Live From London’s track listing, mostly drawing on US giants like Paul Butterfield and Brit Blues godfather John Mayall’s seminal 1966 “Beano” album with Eric Clapton, and during that same formative period, at Belfast’s tough Club Rado, an early lesson in the emotional impact of live blues came from Peter Green. Moore’s own first semi-professional steps had been with the Beat Boys and Dublin’s Skid Row, who offered an escape-route from Belfast, plus the camaraderie of the band’s chaotic frontman, Phil Lynott. Lynott was soon fired, but he remembered his old wingman when his new band, Thin Lizzy, needed a stand-in.

It was a gig in which Moore played the guitar hero role to the hilt. But despite the adulation, Moore feared Lizzy was nurturing his self-destructive streak, and left to explore the outer reaches in Jon Hiseman’s virtuoso jazz-fusion outfit, Colosseum II.

However, every time he picked up a guitar in the dressing room, he immediately went to the timeless licks of the Mississippi Delta, Moore suddenly saw the path. So began 1990’s Still Got The Blues, the multi-million-selling comeback album on which the Irishman’s rebirth as an authentic bluesman was given added credibility by collaborations with A-listers like Albert King, Albert Collins, and Harrison himself.

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TVD Radar: East Village, Hotrod Hotel vinyl-only reissue in stores 1/24

VIA PRESS RELEASE | Slumberland announces deluxe vinyl-only reissue of East Village’s singles compilation, Hotrod Hotel, which is due out on January 24th. Stream two of their classic singles, “Violin” & “Cubans In The Bluefields,” below. The reissue features a heavyweight laminated jacket and full-size fold-out insert with rare band pics and liner notes by Jon Dale.

East Village are one of the great lost bands, a group whose music has only grown in stature since their premature demise in the spring of 1991. Along with other legendary bands like Big Star and The Action, who also failed to fully stamp their mark whilst active, East Village made pop music that was timeless, but out of step with the musical environment around them.

Originally named Episode Four, the band was formed in the mid-1980s by brothers Martin and Paul Kelly in the sleepy Buckinghamshire market town of Princes Risborough just forty miles to the west of London. They were soon joined by Johnny Wood (guitar/vocals) and Spencer Smith (drums) and by 1986 they had forged their brilliant, classic pop sound and recorded their first release, the “Strike Up Matches” EP, which has gone on to become one of the most sought after releases of the C86 era.

By 1987 they had renamed themselves East Village and relocated to London where they recorded two EPs for Jeff Barrett’s Sub Aqua label. The band gigged extensively through 1988 and 1989, including tours with The House Of Love and McCarthy. The 1989 collapse of Sub Aqua left the band without a label, but they recorded their debut album using money loaned by Bob Stanley, and were soon re-united with Jeff Barrett on his new Heavenly label, releasing their classic single “Circles.” Just as interest in the band was building East Village played a sold out show at the New Cross Venue in South London only to end the set by splitting up on stage.

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Stefan Alexander,
The TVD First Date

“My love of record collecting actually started back when I was 16 when my brother gave me a hard drive of MP3s to put on my iPod.”

“On that drive I found Bessie Smith and Billie Holiday, among many other legendary musicians. Somehow I learned about 78 RPM shellac records, the fragile, pre-1950s records that these artists originally released their music on. I began a quest to find more blues and jazz, going to the original source. I bought a multispeed record player off eBay and asked my grandparents and a few elderly neighbors if they had any 78s lying around. None of them were the rare ‘20s or ‘30s records I was looking for, but my small collection led to an article in our local paper.

Soon, dozens of people were calling me, offering me the boxes they’d been storing for decades in their attics or basements. Over the course of a couple of years, I accumulated over a thousand records. I did ultimately find a few by Billie Holiday, but I was also introduced to countless other musicians, many of them long forgotten. Folk, country, blues, vaudeville, big band, and all kinds of music from around the world.

The oldest records dated back to 1905. I’ve always been interested in history, especially the first half of the 20th century, but now I could actually hear it, in the same way the music was originally listened to. Some of the records I found held songs that may not exist anywhere else, so preservation was yet another motivation for my collection.

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Graded on a Curve:
New in Stores for December 2019

The TVD Record Store Club’s look at the new and reissued releases presently in stores for December, 2019.

NEW RELEASE PICKS: Shasta Cults, S/T (Important) Canada’s Richard Smith is an electronics technician who for two decades was the go-to repair person for Buchla & Associates, a job that put him in contact with a variety of musicians and institutions. Smith’s work as Shasta Cults, with this LP preceded by the CD Configurations (recorded in 2017 and issued in September), has its roots in demo recordings of rare equipment he’s worked on over the years, with both of his releases thus far derived entirely from one instrument each; for Configurations, it was the Buchla 700, and for this follow-up (recorded in 2018) it’s the Buchla Touché. Records featuring the Buchla are often spacy and swirly, but this outing is more drone-oriented and impressively layered, though Smith’s work is still quite transportive. A

The Gonks, Five Things You Didn’t Know About the Gonks (Rocks In Your Head) This is a fine batch of fringy-pop from a San Fran-based combo, first heard by moi on this label’s nifty recent Hot Sick Vile and Fun comp (their tune titled the collection). They cover a range of appealing territory, like the black turtleneck art-angst of “I Hired a Hitman” (like a song from the soundtrack to a Beth B. flick), the gal-voxed melodicism (briefly intruded upon by maleness and roaring engines) of “I’m a Lonely Night Driver,” the vaguely Television Personalities-like “My Glamourous Mother,” the decidedly warped jangle and thump of “I’m a Leaker,” and the sax honk meets indie pop strumming of “I’m Dead.” That’s five tracks. There are five more, including a closing theme song of sorts. Altogether, a 16-minute stunner. A

REISSUE/ARCHIVAL PICK: Cecil Taylor, Indent (ORG Music) This label’s Black Friday Record Store Day releases didn’t reach me until right at the cusp of finalizing last week’s column. As RSD selections often linger in the bins for a while, I would be remiss not to mention a few in our final New in Stores of 2019. Along with Silent Tongues and The Great Paris Concert (aka Student Studies), this is ORG’s third installment (all from this year) in what’s hopefully an extended reissue program devoted to this incomparable pianist and cornerstone of the jazz avant-garde. Indent was the first solo Taylor record to hit stores back in 1973 (but not the oldest chronologically; that would be Praxis, a ’68 recording released in ’82), first on his own Unit Core label and then with wider distribution through the Freedom imprint.

For a few reasons, Silent Tongues is perhaps the most celebrated Taylor solo LP; for starters, it was awarded album of the year by Down Beat in ’75, with its arrival coinciding with a gradual change in fortunes (not really commercially, as he’s never been a great seller, but rather just a diminishment of neglect/ increase in respect regarding his creativity). But if Silent Tongues is the most well-known of his solo works, it shouldn’t be considered as encompassing the totality of Taylor alone at the bench. There are certainly common characteristics, amongst them energy and precision with bright rays of beauty shining through. Additionally, the clusters of notes and the overall sound flow is so dense and rich that if the experience proves agreeable it is also inexhaustible. As great as Silent Tongues, maybe better. A+

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In rotation: 12/5/19

El Paso, TX | All the Music moving to Fountains at Farah in January: The new year begins a new era for All That Music & Video, El Paso’s largest and longest-running independently owned music and media retailer. Owner George Reynoso shares via a news release, “We’re moving to a new home — and splitting in two.” Phase One occurs in January 2020 when All That Music & Video, known internationally for its vast inventory of new and used vinyl LPs, opens its new location at The Fountains at Farah. The tentative opening date for the store is Friday, January 3. “It’s a high-profile location with lots of traffic and shoppers,” says Reynoso, who is celebrating his 40th year in the music retail business. The last day of operation at the current 6800 Gateway East location will be Sunday, December 29, 2019. At 1,500-square feet, ATMV’s Fountains store will be smaller, but will stock a more focused selection of hot-selling new and collectible vintage media on vinyl, CD, DVDs, and pop culture gift items.

Glasgow, SCT | Popular record store and coffee shop closes in Dumbarton East: A popular record store and coffee shop has closed in Dumbarton East. Big Sparra Music Cafe shut its doors for the final time last month after hosting a farewell party for customers. However, it won’t be empty for long because a new coffee shop and bakery will be opening in its place. The Glasgow Road shop opened in February last year after Dumbarton music lover Robert McKain revealed plans to bring his love for vinyl to his own home town. Robert and Don Cunningham are opening a new chapter with plans to focus on their coffee roasting business. Robert and Don created Pure Roasters while running the Dumbarton cafe in their bid to learn about making good coffee. Announcing the news they said: “It’s come time for team Sparra to sell up and move on with our other projects.

The best turntables of 2019: Having looked at the best speakers, amplifiers and headphones of 2019, we turn our attention to turntables. Taking the reins is David Murray of NYC hi-fi record shop Turntable Lab. According to The Recording Industry Association of America (RIAA), vinyl sales hit a 30-year high in 2018. Compared to other physical formats, vinyl made up over a third of all sales. As a result, turntable manufacturers stepped up their efforts to introduce affordable “plug and play” decks to appeal to new demographics and make getting into vinyl more accessible than ever in 2019. The increasing popularity of multi-room home audio systems has also informed an influx of turntables with wireless capabilities. While it’s safe to say that the wireless turntable is here to stay, those sceptical of its relative charms need look only to brands like Pro-Ject, Yamaha, and Cambridge Audio, all of whom released high-quality turntables with streaming integration this year.

Technics reintroduces classic turntable: Great news for audiophiles, vinyl lovers, disc jockeys and those with extensive collections of long-playing records: Technics turntables are back and better than ever before. You can add an iconic SL-1200 to your stable or go for the reimagined SL-1500 which combines Technics’ turntable technology with a dose of digital flair, making your stereo system capable of delivering vinyl through to the modern convenience of streaming music, wireless speakers or your favourite headphones. There’s something about the added ambience delivered through the gentle hiss of the stylus traversing vinyl grooves which takes you straight back to golden days gone by. And it doesn’t get more nostalgic than this; the ‘Wheels of Steel’, as Technics’ iconic SL-1200 turntable is fondly known, has quite a history – first introduced in 1972, little has changed in its design and sheer magnetic appeal.

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TVD Live Shots:
The Joy Formidable
with Twen at the Rock and Roll Hotel, 11/29

The Joy Formidable made a stop at Washington, DC’s Rock and Roll Hotel on Black Friday, giving fans respite from the Thanksgiving holiday and oncoming Christmas onslaught. Celebrating ten years together, they treated VIPs to a short acoustic set prior to doors opening before filling the RnR Hotel with tight indie rock.

The Joy Formidable (Ritzy Bryan, Rhydian Daffyd, and Matt Thomas) are playing their entire album A Balloon Called Moaning (plus a few more from their catalogue) as a celebration of hitting ten years together. The fans, crammed into the RnR Hotel’s dark snug room, were ecstatic; one yelling appreciation to Thomas as he took the stage and many singing along with Bryan.

The band appeared to be in good humor and a celebratory mood as well, appearing delighted to play their old songs. Bryan stopped to thank a young boy (age ten or so) for being in attendance and Daffyd even took it in stride when an on-stage encounter with Bryan ended with a cut to the forehead, blood trickling down his nose. Thomas for his part pounded the drums like a sledgehammer; I was situated next to his drum kit and could feel the blasts of air moved by his high hat.

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TVD Live: Jason Bonham’s Led Zeppelin Evening at the Fillmore Silver Spring, 11/26

PHOTOS: RICHIE DOWNS | Usually I spend three days before a concert plumbing the depths of the band’s discography, but this time there was no need. I know Led Zeppelin’s back catalog like the back of my hand. So I walked to the venue listening to an astrophysicist with a thick Italian accent explaining orbital mechanics over a poor-quality long-distance call. I mention this interview because it turned out to be an oddly fitting warm-up act for JBLZE—it’s as confusing as it is fascinating.

From the beginning, it’s unclear what JBZLE is supposed to be: cover band? Nostalgia trip? Both at once, or something else entirely? To the band’s credit, it’s also difficult to fuss too much about this performative identity crisis. JBLZE is undeniably fun. They’ve been opening for Peter Frampton recently, and they hit the much smaller stage at the Fillmore with the same energy—they’re loud, proud, and happy to be there.

So is the audience, a mixed collection of Baby Boomers out on Date Night, parents who have dragged their children along (or vice versa), and die-hard Led Heads difficult to categorize any other way. In the queue outside the venue, a teenager chatters at her father about other concerts they’ve clearly been to together. He catches my eye over her head and shrugs, smiles. She’s got the bug. It’s a familiar scene; ten years ago it might have been my father and me.

The family resemblances don’t stop there. Jason Bonham reminisces about his own father between songs, recalling how the resurgence of analog audio led him to an unexpected discovery: that the liner notes give Bonzo songwriting credit on “Good Times, Bad Times.” “He didn’t play an instrument [besides the drums],” Jason explains, “so how did he get the ideas across?” He sang them, according to Jimmy Page, who answered this question with an anecdote about “Out on the Tiles”—which started with one of Bonzo’s old drinking songs.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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