Monthly Archives: March 2020

Graded on a Curve:
Hank Williams,
Pictures from Life’s Other Side: The Man and his Music in Rare Photos and Recordings

Hank Williams is an icon of early country music, but he recorded before the LP era really took hold, so his legacy is dominated by posthumously assembled compilations. These sets come in various sizes and levels of quality. The latest, Pictures from Life’s Other Side: The Man and his Music in Rare Photos and Recordings, offers 144 transcriptions from Williams’ Mother’s Best radio program on six CDs, all tucked into a magnificent hardcover book loaded with photos, many of them in color, that serve to broaden the life of the artist beyond the still too common reduction of strife and an early death. It’s out now, but if it’s vinyl you require, the 3LP distillation Only Mother’s Best is also currently available from BMG.

When it comes to concise surveys of Hank Williams’ exceptional musical abilities (by which I mean single or double sets), the gold standard remains Polydor’s 40 Greatest Hits. Released in 1978, it was distinguished at the time for its lack of production meddling, as those four vinyl sides weren’t rechanneled into stereo and they lacked additional posthumous meddling such as overdubs and duet fakery.

40 Greatest Hits was just pure Hank, and for those who favored his work, disappointment in the listening was an impossibility. That’s not the same as being fully satisfied however, which is where the box sets enter the picture. Mercury’s 1998 10CD The Complete Hank Williams is an award winner, but amongst the numerous two- and three-disc collections, there’s an even bigger assemblage, Time Life’s The Complete Mother’s Best Recordings…Plus!, which emerged in 2010 as a 15CD behemoth.

As one might’ve deduced, there is a relationship between that release and the one under review here, with the difference being that Time Life simply rounded up the acetates of the original 15-minute broadcasts, which were sponsored by Mother’s Best flour. This left in all the instrumental bits, the guest musicians and the chatting and joking around.

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In rotation: 3/18/20

UK | UK record labels annual trade income hits £1.1bn in 2019: The trade income of the UK’s record labels has reached its highest level for more than 10 years. According to the BPI, trade income rose by 7.3% in 2019, reaching £1,069.8 million, thanks to investment in new music, the growth of streaming and vinyl sales. Trade income covers revenues generated through streaming, physical and download sales, public performance rights, and sync. “Watching British artists such as Stormzy, Celeste, Dave and Harry Styles at the BRIT Awards was a reminder of the fantastic contribution music makes to our national life. The music industry’s success is powered by record labels’ up-front investment and shouldering of risk, so it is important to the sustainable health of the music ecosystem that label revenues grew on last year’s results,” said BPI & BRIT Awards chief executive Geoff Taylor of the latest results.

Kettering, UK | Kettering record fair cancelled for “safeguarding.” Another cancellation amid the coronavirus pandemic. Record fairs planned in Kettering for March and April have been cancelled in light of the current coronavirus crisis. Kettering Vinyl and CD Fairs posted a statement on their Facebook page to announce the decision. They said: “Very sorry to inform you that March and April fairs have been cancelled as a safeguarding measure for record dealers and the public.” The fairs on March 28 and April 25 were due to be held at the Parish Hall in Kettering. The remaining fair dates will be reviewed in mid April. Kettering Vinyl and CD Fairs said they and many record dealers have an online presence and urged customers to send a message if they want to get in touch with any regular dealers.

Kingston, UK | Covid-19 Music Industry Update: Banquet Records. Kingston’s independent record store Banquet has announced that, due to the coronavirus, its staff will now be working in the shop with the front doors closed, and will be focusing on mail-order services only until further notice. “With the recent Social Distancing measures advised by government, we can no longer in good faith have our physical shop open,” they explained in a statement. “While music is essential, and new music is brilliant, it can’t be argued that travelling to the store is essential travel. Our doors will be closed, until the time we feel it’s right to re-open. Some of our staff are working from home, others’ hours and roles will change. We have hundreds of thousands of pounds of stock, with deliveries arriving daily, and we expect minimal disruption to supply chains. We will not lay off any staff over the coming months and expect records and CDs to get out to you in good time, with no sign of a change to the Royal Mail service…”

Austin, TX | Coronavirus in Austin: Waterloo Records temporarily closing, will have curbside service: Waterloo Records, winner of the Austin Music Awards’ best record store category every year since it opened in 1982, is closing its doors to the public through March 29 amid the coronavirus pandemic but will offer curbside service via online and phone orders, the store announced Monday… “Curbside service will be provided by a small crew at the store each day from 10am-7pm Mon-Sat and 11am – 7pm on Sunday. Simply call us at (512) 474-2500 to place your order and a staffer will bring your LP/CD/Video out to your vehicle. For this service we are only accepting credit card payments. In addition you can shop us at WaterlooRecords.com where orders over $35 ship media mail for free. You can also shop with us through our Ebay, Amazon, and Discogs stores. Links to those stores can be found on our homepage www.waterloorecords.com.”

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TVD Radar: Friday The 13th Part VII: The New Blood OST 2LP vinyl in stores 5/20

VIA PRESS RELEASE | Deluxe 2LP vinyl soundtrack available for the first time in any format. Archived away for many years and thought to have been lost, multiple master tapes containing the score have been located via the Paramount Pictures vault, transferred and re-mastered, including the complete original film music.

Waxwork Records is thrilled to announce the debut release of Friday The 13th Part VII: The New Blood Original Motion Picture Soundtrack By Harry Manfredini and Fred Mollin! Available for the very first time in any format, Waxwork worked closely with Paramount Pictures to locate the original 1988 master tapes in the Paramount vault. Archived away for many years, and thought to have been lost, multiple master tapes containing the score by composer Fred Mollin have been located, transferred, re-mastered for this deluxe double vinyl release. Also included in this double album are the complete original soundtrack cues featured in the movie and composed by Friday the 13th veteran, Harry Manfredini.

Friday The 13th Part VII: The New Blood is a 1988 American Slasher-Horror movie that follows a psychokinetic teenage girl who inadvertently unleashes Jason Voorhees from his grave in Crystal Lake. The film features, for the first time, actor / stuntman Kane Hodder, as Jason Voorhees. Hodder would go on to portray Jason in numerous Friday The 13th films.

Waxwork Records is excited to present the definitive Friday The 13th Part VII: The New Blood soundtrack by including, for the first time, the complete film music by both composers Harry Manfredini and Fred Mollin. Features include 2xLP 180 gram “Zombie Jason” colored vinyl, deluxe packaging, new artwork by Sarah Deck, the complete soundtrack sourced from the original 1988 master tapes, and old style tip-on gatefold jackets with satin coating.

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TVD Radar: Johnny Cash’s Mercury Records years to be celebrated with vinyl reissues, in stores 4/24

VIA PRESS RELEASE | In the mid-1980s as Johnny Cash found himself between labels, Mercury Records snatched up the country legend for what would end up being a prolific string of 6 albums in 5 years.

The records, released from 1986 to 1991, were a diverse collection that included a notable reunion with fellow Sun Records alumni Roy Orbison, Jerry Lee Lewis and Carl Perkins, star-studded collaborations with Paul McCartney and Linda McCartney, Glen Campbell, Waylon Jennings, Emmylou Harris, Hank Williams Jr. and others, inspired takes on songs from Elvis Costello, Guy Clark, and Harry Chapin, the Man in Black revisiting his classic hits, and some of the finest songs ever written by Cash. Despite the quality of material, Cash’s stint with Mercury has never been revisited—until now.

On April 24, Cash’s often overlooked and underappreciated chapter of his body of work will be showcased with a suite of releases via Mercury/UMe including a comprehensive new box set, The Complete Mercury Recordings 1986-1991, and a new greatest hits album, Easy Rider: The Best Of The Mercury Recordings, a newly assembled collection that compiles 24 highlights selected from Cash’s Mercury catalog. Easy Rider will be released as a single CD, double LP and digital download.

The Complete Mercury Recordings 1986-1991, available on 7CD or 7LP on 180-gram vinyl, collects all six albums – Class of ’55: Memphis Rock & Roll Homecoming (1986), Johnny Cash Is Coming to Town (1987), Water from the Wells of Home (1988), Classic Cash: Hall of Fame Series (1988), Boom Chicka Boom (1990) and The Mystery of Life (1991), and—that Cash recorded during his Mercury tenure and presents them together for the first time in a handsome slipcase emblazoned with the distinctive bold Cash logo. All of the albums have been remastered from the original Mercury master tapes by noted engineer Kevin Reeves at UMG Studios Nashville. The set was assembled by Grammy Award-winning producer Bill Levenson and features extensive new liner notes by veteran music journalist Scott Schinder.

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UK Artist of the Week: Frans Bak

Given the current climate—what with all the Coronavirus craziness going on—it’s more important than ever to make sure you are supporting musicians by listening to their music. Live music everywhere has drawn to a halt, so what better time than to sit back, relax and enjoy some stunning neo-classical music at home. Danish composer Frans Bak has returned with his latest single “Parting” and it’s absolutely mesmerizing from start to finish.

Taken from his upcoming album Piano, “Parting” is a glorious slice of instrumental music that will absorb you instantly. Combining bittersweet ambience with a truly poignant piano melodies and undeniably captivating string quartet, “Parting” conjures a sound that is both majestic and melancholic. Fans of Nils Frahm and Ludovico Einaudi will feel at home here.

No stranger to the sync music world, Frans Bak is known for his work on Nordic, French, American, and British TV series’ including Disparue, Doctor Foster, Lilyhammer and The Killing to name but a few. He has also scored three Oscar nominated shorts: Ernst & Lyset, Helmer & Son, andSkal vi være kærester?. Pretty impressive, hey?

With both “Parting” and Piano, Frans Bak will once again showcase his incredible ability to create transcendent soundscapes that are minimalistically powerful and unique.

Piano is in stores on 17th April 2020 via Dharma Records.

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Graded on a Curve: dumama + kechou,
buffering juju

buffering juju is the debut album from dumama + kechou, a duo from Capetown, South Africa who describe their sound as Nomadic Future Folk. It’s an accurate self-assessment that really gets to the music’s blend of new and old, a mix that can also be approached as having a local foundation and a global reach. Where a lot of folk-based stuff derives the largest part of its appeal by simply carrying forth the traditional, dumama + kechou are connected to the past while unreservedly pointing the way forward; there’s no mistaking this music as belong to any other era than the now. An exciting development, the record is out March 20 on LP/ CD through Johannesburg’s Mushroom Hour Half Hour.

By the looks of it, buffering juju is the fourth vinyl offering from Mushroom Hour Half Hour and depending on how you count, either their fifth or sixth release overall. The label commenced operations back in 2016 and, befitting an enterprise with a geographical (one could also say national) focus, they have been in no particular hurry putting releases on the shelves.

It was the self-titled debut from Spaza last year that put Mushroom Hour Half Hour on my radar, a positive connection that found me eager when the existence of dumama + kechou’s LP entered my consciousness a few months back. Time spent left no trace of disappointment. While Spaza is tagged as an Afro-futurist improv collective with no permanent members, and the makers of buffering juju are a solid twosome (although assisted by a handful of guests, which we’ll get to below), the records are ultimately quite complementary.

This is partly due to the vibrant input of women. dumama (Gugulethu Duma) and kechou (Kerim Melik Becker) first met in Cape Town in 2017. kechou is of Algerian-German descent but he was raised in Germany and was studying at the South African College of Music in Cape Town during this period, while dumama, who is from South Africa’s Eastern Cape Province, was beginning a mentorship with Madosini, a composer and instrument builder who is celebrated in their country for her skills as a performer and improviser.

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In rotation: 3/17/20

Why the music biz needs to work together, not isolate during the coronavirus crisis: Working in the music business last week felt like being in the first 20 minutes of a disaster film. You knew something bad was coming, it was just a question of when. And then rapidly, the dominoes started falling: South By Southwest, Coachella, MUSEXPO, C2C, Big Weekend, Record Store Day, countless live shows, big and small. All postponed, with varying degrees of fallout for organisers and participants. As I write, the UK has yet to enact a formal lockdown, although it may well happen soon enough. But everywhere you look, the potential impact of the pandemic on almost every aspect of the music business is already looking very serious indeed. On the financial markets, companies from Live Nation to Vivendi have seen billions wiped off their market cap. Indie acts and labels have had their 2020 plans and finances thrown into disarray by the loss of SXSW. The loss of footfall will hit physical music retailers hard.

Anderson, GA | The vinyl experience: Anderson business rides wave of hobby’s resurgence. Australian entertainer Peter Allen gained fame in the 1970s with a song called “Everything Old is New Again.” The title of that vinyl classic is an appropriate way to describe the philosophy that Bob Bantz and his son, James, have applied to their business. Elusive Disc, an audiophile company that specializes in hard-to-find titles in a variety of media, is among the hundreds of warehouse retailers capitalizing on a resurgence in the popularity of vinyl records over the past decade. In the first half of last year alone, sales of vinyl records outpaced those of CDs for the first time since 1986, according to data from the Recording Industry Association of America. And vinyl is proliferating online, with approximately 5.7 million such items listed on Discogs, a database of information on audio recordings, and an additional 2.5 million used vinyl recordings available on eBay. “There’s just a tactile experience” with vinyl, Bob said.

Philadelphia, PA | Fans hope Sound of Philly studio can become music museum: What’s the most significant Philadelphia music landmark that needs to be saved? …On a recent Wednesday, a group of Sigma Sound veterans from the studio’s glory days joined a younger generation of Philly music lovers and preservationists for a #SaveSigma brainstorming session, to mull the future of the gutted building that has been owned by real estate developers since 2015. The meeting was called by Max Ochester, the mover-and-shaker owner of the Brewerytown Beats record store and label, an impassioned advocate for the preservation of Philly music. Ochester wants to not only save the Sigma Sound building, but also turn it into a museum. “Not a Sigma museum,” he said. “But a Philadelphia music history museum” — an institution sorely lacking in a city that has been home to Marian Anderson, Billie Holiday, Eugene Ormandy, Hall & Oates, Schoolly D, and the War on Drugs. Speakers at the Sigma summit, held at the Spring Arts Building in Callowhill, included David Ivory, who engineered Erykah Badu’s 1997 album Baduizm at Sigma, as well as several by an up-and-coming Philly band called the Roots.

These Wooden Record Dividers Let You Sort Your Collection By Feelings: Anyone who collects records has one main gripe about their collection, and it’s not that some of their LPs skip (that’s just part of their overall charm!). Records are notoriously hard to organize and store in a way where specific albums are easily found. The lack of spine and thin shape often leaves collectors sifting through their stash in search of the perfect LP. So, Kate Koeppel of Koeppel Design decided to do something about it, and her record dividers are the perfect storage solution for any record junkie. Made by a team of “organization-obsessed craftswomen” based in San Francisco, California, Koeppel’s wood divider sets come in an array of different organization options. For example, if you like to sort your record based on genre, there’s a divider set for that. If you prefer an alphabetical organization system a la your favorite record store, there’s also a divider set for that. Koeppel even designed a divider set that will help you sort your collection by feelings.

Isle of Wight, UK | The first cut is the deepest: Isle of Wight musician Paul Armfield’s new album has lino prints as part of package: A new vinyl release by Isle of Wight musician Paul Armfield will come packaged with a collection of original linocut prints depicting scenes of ‘native’ plants, complementing the ten songs. Paul said: “My last album, Found, came boxed with a CD and postcards and was such a success, the 1000 copies selling out very quickly, with people really appreciating that they had something special. “As music becomes more and more devalued in the digital age, I want to give back a sense of worth to my music, to demonstrate that there is a lot of love, care, thought and consideration behind it. “I also want the packaging to enhance the experience of listening: the inks and the papers I have chosen have a feel and a smell, and the images I’ve created offer a further context to the lyrics, and it all works together to create a greater and more personal experience.” Paul is running a crowd-funding campaign to finance the project, as he does not feel a record company would agree to it.

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TVD Radar: Bee Gees vinyl reissue series arriving in stores 5/8

VIA PRESS RELEASE | On May 8, Capitol/UMe is set to release five remastered LPs from the storied catalog of the Bee Gees, one of music’s most legendary and acclaimed groups.

Each LP has been pressed onto both black vinyl and limited-edition colored vinyl. The five LPs are, in chronological order, 1969’s Best Of Bee Gees (on black and berry vinyl), 1975’s Main Course (on black and whitewater vinyl), 1976’s Children Of The World (on black and sunshine yellow vinyl), 1977’s double live album Here At Last…Bee Gees…Live (2LPs on black and tangerine vinyl), and 1979’s Spirits Having Flown (on black and blood-red vinyl). All five albums have been remastered from the original analog LP master tapes at the iconic Capitol Studios by Kevin Bartley and Ian Sefchick.

The Bee Gees’ first greatest hits compilation, Best Of Bee Gees, was released in June 1969, and it features a prime selection of the early hit singles that established the group’s broad musical palette. The twelve gems comprising Best Of are among the most popular songs of the then-burgeoning group’s canon, including the desperately pleading “I Gotta Get A Message To You,” Sir Barry’s classic balladry vocal on “Words,” the harmoniously soulful classic “To Love Somebody,” the pure pop perfection of “Massachusetts,” Robin’s signature vocal on “I Started A Joke,” and the skillful buildup of “Spicks and Specks,” the latter song being the Bee Gees’ first-ever No. 1 record in their homeland of Australia.

June 1975’s Main Course, one of the most significant albums in the Bee Gees catalog, marked a new direction for the group, and in turn created the model for their output throughout the rest of the 1970s by featuring a fresh, R&B-meets-pop sound. Recorded in Miami, Florida, and produced by the legendary Arif Mardin, the album’s infectious No. 1 hit, “Jive Talkin’,” carries a rhythm inspired by the sound the group’s car made on the 163rd Street Causeway Bridge as they drove to and from the recording sessions being held at the fabled Criteria Studios.

With Main Course, Mardin and the Gibb brothers continued to explore the use of synthesizers instead of strings in their arrangements. It’s also the first album where Barry Gibb’s hallmark falsetto is most prominent, showcasing the impressive depth of his vocal range. The album’s other hit singles include the dramatic “Nights On Broadway” and the always touching “Fanny (Be Tender With My Love).”

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TVD Radar: Lee Fields, Let’s Get A Groove On clear vinyl reissue in stores for RSD

VIA PRESS RELEASE | Daptone Records announces new reissue of Lee Fields’ 1998 album Let’s Get A Groove On that ushered in the funk revival of the 1990’s and laid roots for the future of soul music which features background vocals by Sharon Jones.

Freshly unleashed from the vaults of Daptone Records’ predecessor Desco Records and remastered for the first time since its 1998 release, Daptone is honored to announce the re-release of one of the finest and most satisfying needle drops of the last 40 years, Lee Fields’ classic, Let’s Get a Groove On. The album is out digitally on April 3 and available April 18 on clear vinyl with green color splatter as an exclusive Record Store Day Release. Lee also has a handful of upcoming shows listed below.

In addition to ushering in the funk revival of the 1990’s, this album was a watershed moment that laid roots for the future of soul music to come, being not only Fields’ re-introduction to the modern scene, but featuring background vocals by a young Miss Sharon Jones as well.

Lee, who has been a steady player in the game since the late 1960s, releasing a dozen or so funk/soul sides that have since become mainstays in the playboxes of some of the world’s most celebrated DJs, was relatively obscure when he teamed up with Desco records.

The release of Let’s Get a Groove On revitalized Lee’s career, placing him in the forefront of a burgeoning scene where he still stands today. This highly sought-after album is as raw and relevant as ever.

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TVD Radar: Craft Recordings launches tribute to Stax’s Gospel Truth Records

VIA PRESS RELEASE | Craft Recordings is pleased to honor the music of Gospel Truth Records, a subsidiary of Stax Records, with the first-ever digital release of 25 albums from the label’s catalog. Beginning today (3/13) with The Rance Allen Group’s 1972 self-titled debut, the titles will be released every week in chronological order, leading up to September’s Gospel Heritage Month. In addition to the digital reissues, the campaign will include a singles compilation, set to drop September 4th on vinyl, CD and digital formats, plus several playlists and new video content.

From the divine gospel of Rev. T.L. Barrett and Rev. Maceo Woods to the cutting-edge message music of Louise McCord and marquee artist Rance Allen, the Gospel Truth catalog exemplifies the dynamic heritage of Stax’s influence. Reaching beyond the realms of the black American gospel tradition, the ’70s label showcased a diverse collection of talent—including the Indian meditative teachings of Blue Aquarius, the white roots music of the Commanders, and Rev. Jesse Jackson’s People’s Choir of Operation PUSH, who chronicle the Civil Rights struggle.

Established in 1972, Gospel Truth was conceived of by Stax executive Al Bell, who enlisted the help of radio promotions pioneer and songwriter Dave Clark and label staffer Mary Peak Patterson to oversee the formation of the imprint. With a focus on moving the good word out of the pulpit and into the hands of the masses, Gospel Truth was intended to “carry the message of today’s gospel to the people on the street,” as promotional material for the label’s launch touted.

But what separated Gospel Truth from other labels in the genre was that it made its music accessible to everyone. With his sharp eye for talent, Clark paired down-home, traditional gospel musicians with raw, revolutionary artists that adopted the conventions of rock, funk and soul, creating a sound that resonated with a hip, ’70s audience.

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Graded on a Curve: Wolfman Jack,
Fun & Romance

File under Must Own, Never Play. There are only two things you need know about the late great Wolfman Jack: (1) he’s a bona fide American icon, and (2) he can’t sing a lick.

The Wolfman’s career took him from Mexico’s legendary 250,000 watt “border blaster” radio station X-ERF–immortalized in ZZ Top’s “I Heard It on the X”–to show stealer on 1973’s America Graffiti to longtime host of NBC-TV’s late night concert staple The Midnight Special, becoming one of the world’s hippest and most recognizable figures in the process. The man was as cool as the Orange Creamsicles he ate in American Graffiti.

And it’s Wolfman Jack’s lovable persona, rather than his singing ability, that carries the day on 1975’s Fun & Romance. Everybody’s favorite gravel-voiced DJ (one Wolfman Jack = six Dr. Johns) does a better job talking jive than singing, but his love for the golden oldies comes through loud and clear on every cut. There’s something endearing about Wolfman Jack’s amazing inability to hold a tune. He’s that passionate tone-deaf guy at the karaoke bar who can’t wait to get his hands on the microphone, and I can relate. Why suffer for your art when other people can do it for you?

The Wolfman makes maximum use of his players–you get horns galore, scads of backing vocalists, and lots of raucous piano–and they definitely lively up the proceedings. The Hirsute One’s cover of Dr. Feelgood & The Interns’ “Dr. Feelgood” boasts SNL horns and has a Blues Brothers feel to it, while the heavy-duty percussion on the very funky “I’m So Happy” brings War to Mind. Funk’s also the name of the game on the worth a listen or even three“Ghost Story,” on which the Wolfman does some trademark cackling.

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In rotation: 3/16/20

Record Store Day 2020 Postponed Due to Coronavirus Concerns: “There is no perfect solution. There is no easy answer. So, we’ve decided that, this year, our best possible move is to change the date,” organizers say. “In our discussions over the past few weeks, information came and changed daily, and then hourly, along with the news cycle. We’ve taken all of that information to heart as we’ve gone over the various options that involved staying the course, moving the date, even changing the structure of the event,” organizers said in a statement. “At the risk of stating the obvious, no one knows what things will look like in any given place over the next five weeks, but it is imperative that hard decisions for that time period need to be made right now, using current facts. There is no perfect solution. There is no easy answer. So, we’ve decided that, this year, our best possible move is to change the date of Record Store Day to Saturday, June 20.”

Why Record Stores Are Being Hit Especially Hard By Coronavirus: When it comes to the coronavirus pandemic’s effect on the music industry, most of the focus so far has understandably been on live concerts, where independent artists are losing a crucial source of income, festivals are being upended, and even corporate leviathans like Live Nation are suspending all touring. But record stores are hurting too…Although visiting an enclosed space to flip through crates that other people might have touched or sneezed on may not sound so appealing right now, shop owners stress that they’re taking every sanitary precaution. The best way record aficionados can support them, many owners say, is by covering their mouths, washing their hands, and buying music from their local stores. Phone and online sales are always an option, and some shops, such as Seattle’s Easy Street Records and Mobius Records in Fairfax, Virginia, tell me they’re also offering a special local delivery service during the pandemic. “We’ve definitely had a couple of people partake in it just because they’re fans of the store…”

Sydney’s HIFI2020 show postponed until September due to coronovirus: Audio and AV show rescheduled from April to September. The HIFI2020 Show planned to take place from April 3-5 in Sydney has been rescheduled, adding to the list of tech events affected by the spread of the COVID-19 coronovirus, including the cancellation or postponement of High End Munich, MWC, E3 and Record Store Day. The organisers tell us that with ‘social distancing’ now considered the most effective path to minimising spread of the virus, the decision was “clearly the right thing to do for all involved – visitors, exhibitors and the hotel”. “After our last bulletin, so many of you have contacted us to suggest a postponement of HIFI2020 from duty of care and the health of their staff, that it was not realistic to continue forward through another three weeks of uncertainty,” said the official announcement to exhibitors on Friday. …HIFI2020 has been rescheduled to September 18-20, and all issued tickets remain valid for the new dates. The organisers say that all paid ticketholders have been contacted directly to inform them of the new dates and offer refunds if they are unable to attend.

Bristol, UK | Idle Hands issues stark warning over impact Coronavirus independent-record-stores: As the spread of coronavirus (COVID-19) continues to force a number of event cancellations or postponements and club closures, Bristol record shop Idle Hands has issued a stark warning on how the pandemic might affect small, independent businesses. “This is a worrying time for everyone and a situation none of us are used too,” reads a social media post penned by the shop’s owner, Chris Farrell. “Events are moving fast and we have to accept that major disruption is on its way. If Italy is anything to go by shops like Idle Hands will be forced to close indefinitely.” The post continues: “I’m proud to have survived almost a decade through some of the worst economic challenges we’ve seen in our lifetime. It might look like an easy job because the shop is still here and consistently opening its doors, but there have been times where idle hands has survived by the skin of its teeth – especially with the recent uncertainty of Brexit. “If at any time over the last nine years you’ve enjoyed coming to the shop, I’d ask that you please support us in whatever way you can over the coming weeks or however long we’re still able to be open. Come in and buy records…”

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TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

The woman from the supermarket / Ran to call the cops / “He must be high on something, ” someone said / Though it never made The New York Times / In The Daily News, the caption read, / “Save the life of my child!” / Cried the desperate mother…

Yesterday was pretty stressful. How do we handle Corona protocol? Even Presidents, movie stars, and pro-hoopers get it. I hear we need to try to stay calm, keep extra clean, and for now keep your distance.

In the meantime, The Idelic Hour is here to provide a touch of comfort for those who need an hour of great curated tunes to free their mind. I find old songs are sometimes better friends than people.

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TVD Live Shots: Poguetry: The Songs
of the Pogues at the Black Cat, 3/7

For a few years there, the Pogues coming through DC around St. Patrick’s Day was as common as The Dubliner being at max capacity on the day when everyone wears green. DC got to celebrate a little early this year when Pogues tin whistle player Spider Stacy and bassist Cáit O’Riordan, backed by the Grammy-winning Cajun band, Lost Bayou Ramblers, brought “Poguetry: Songs of the Pogues” to the Black Cat last Saturday. “I fucking love being in DC,” said Stacy at one point.

The pairing of Irish folk-punk music and Cajun may sound like an odd couple initially, but the two are incredibly similar with use of fiddles, squeeze boxes, marching pattern time signatures, and so on. The Pogues song “White City” showcased this dichotomy really well, with the Cajun style as the backbeat, and the Irish trad serving the tempo and flavor. It was also interesting to hear Pogues lyrics in Cajun French as in “Dirty Old Town,” which was sung by the Ramblers singer/fiddle player Louis Michot.

Stacy, a Louisiana resident since 2010, almost seems to be leading a charge in merging both genres, much like the Pogues did with Irish folk and punk.He and the band tossed around lots of Cajun French phrases between songs, and he played tin whistle, both Saturday and on the recording of the Ramblers’ “Si J’aurais Des Ailes.” Rumor also has it that they may be doing a record together soon.

Roots embracing wasn’t just on a musical level, but a fun fashion one as well. Stacy, O’Riordan, and Michot were all wearing different colored jumpsuits, and when I inquired if there was a significance about them, Michot explained that there is a whole history with older Louisiana men and jumpsuits. “We like, them,” he said. “Lots of older men in Louisiana like my grandfather, they had them for different occasions.” For those of you seeing the next batch of shows, you may see the whole band wearing them soon.

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TVD Live Shots:
The Hoosiers at the
O2 Shepherds Bush Empire, 3/6

Back in 2007, I was working at Sony Music and living in Austin, Texas. Sony was signing UK bands left and right looking to cash in on the continued Britpop movement riding high in the US.

The problem was that many of the A&R folks at Sony thought that just because a band was huge in the UK, they would undoubtedly share similar success in the US. That was the farthest from the truth. Many of the UK bands didn’t get a proper promotional push in the US from their labels, and I can attest to that when a brilliant little record called The Trick to Life showed up in my promo allotment. I’d never heard of the band before, and I thought the name was terrible, but none of that mattered once I gave this disc a spin.

The debut record from the UK by way of Indiana band The Hoosiers was a stellar piece of work, and it was chock full of big hooks, slick production, and potential hits. The only problem was, what’s the genre? How do you sell this one? Hell, how do you even describe it? It was somewhere between the genius of ELO and Supertramp, mixed with a bit of Jellyfish and Hot Hot Heat.

This genre-bending mashup would become both a blessing and a curse and ultimately leave the band without a label but with an increasingly dedicated fanbase even after being voted by the NME as the worst band of the year. How in the fuck that happens is beyond me, then again it’s just another example of how clueless critics can shift a band’s perception by making it a cool thing to hate an incredibly talented band.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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