Monthly Archives: June 2020

TVD Radar: that dog., Totally Crushed Out and Retreat From The Sun reissues in stores 7/24

VIA PRESS RELEASE | Third Man Records is excited to announce vinyl reissues of that dog.’s seminal LPs Totally Crushed Out and Retreat From The Sun, to be released on July 24, 2020. These reissues arrive just in time for the 25th anniversary of the original release of Totally Crushed Out and mark the first vinyl pressing of either album. Pre-order Totally Crushed Out here, and pre-order Retreat From The Sun here.

Totally Crushed Out | Conceived as a loosely-based concept album around the idea of crushes and young love, that dog.’s sophomore album Totally Crushed Out is a touchstone underrated classic in line with of-the-era releases like the Breeders’ Last Splash and Liz Phair’s Exile in Guyville. From the Sweet Valley High-reminiscent illustrated album cover, to the A minus rating given by the dean Robert Christgau, to the Jenni Konner songwriting credit (long before she was the showrunner for HBO’s Girls) this album is quirky, smart, well-written and most of all… enjoyable.

that dog.’s touring behind Totally Crushed Out found them sharing stages with Foo Fighters, Weezer, and Teenage Fanclub, their songs being covered live by Pearl Jam, collaborating with Beck, and the vid for “He’s Kissing Christian” achieving sub-Buzz Bin status on MTV.

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TVD Radar: Blue Öyster Cult, 45th Anniversary–Live In London 2LP in stores 8/7

VIA PRESS RELEASE | Blue Öyster Cult have announced another special live release from their archives. 45th Anniversary–Live In London will be released on August 7, 2020 on CD/DVD, Blu-ray, and 2xLP. The performance, captured in London at the O2 Indigo at the Stone Free Festival, includes a full performance of their legendary debut album, plus more cuts from their storied catalog. The band is also nearing completion of their new studio album, The Symbol Remains, which will be released in October via Frontiers Music.

In 2017, the mighty Blue Öyster Cult celebrated their 45th Anniversary with a run of festival and headline dates across the UK and Europe. The band’s appearance in London at the O2 INDIGO at the Stone Free Festival on June 17th started with a performance of BÖC’s first album in its entirety, a celebration of the 45th anniversary of its release. In addition, the band added special select cuts from their catalog to the set. The full show was filmed in 4K UHD and is another one of a kind archival release which fans of the band cannot miss.

Hailing from New York, Blue Öyster Cult have garnered huge critical acclaim and a dedicated fanbase built on their studio albums, tracks like “(Don’t Fear) The Reaper,” “Godzilla,” and “Burning For You,” and their awesome live shows.

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Maria Rae,
The TVD First Date

“Having grown up on CDs with no family records to inherit, my love for vinyl sparked in my late teens, when I moved to London from Greece. I found myself digging through record stores in Soho, in awe of the amount of different music available to purchase, and so I was hooked on discovery. I spent my early years exploring my parents’ CD collection, creating my own amalgamations of what I considered to be the best mixtapes ever made… ignorance is bliss!”

“I grew up with a love for the likes of Tracy Chapman, Nina Simone, Toni Braxton, Erykah Badu, Alicia Keys, Ms Lauryn Hill, and Mary J. Blige who would blare out of my parents’ speakers on a daily basis. The common denominator for a lot of my favourite childhood music was clearly female singers playing the piano. I learned the piano from the age of 7, leading me into a career of songwriting and singing—and I can only thank all the amazing female voices I heard everyday, giving me the confidence to pursue writing and performing music myself.

When I first arrived in London, I remember going to see James Blake live one night and needing to buy something at the end of the gig as a memento. The way the sound traveled through the venue, especially that of the piano, gave me chills and I needed something to remember that feeling with. I distinctly recall looking at the vinyl at the merch stand and the excitement of taking it home for its first spin—this purchase marked the beginning of my vinyl journey.

My record player came shortly after, and I immediately became obsessed with the way the mechanism works, going back and forth to Soho, adding a new record or two each time I got paid. The needle fascinated me and to this day, I sit in awe of the way the sound is created, the way it travels through the air, and the texture of the sound we hear. Whenever I come back from a gig, it’s with vinyl in hand. I will stick it on as soon as I’m home and relive the magic.

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UK Artist of the Week:
J. Juva

We’ve got something a little different for you this week and we hope you will appreciate its calming effects as much as we do. Rising electronic producer J. Juva—aka Joel Neale—is an innovative new artist who creates ambient electronic music that is perfect for these trying days.

We’ll be the first to admit that we’re not uniquely dialed into the very latest happenings in the electronic world, but J. Juva’s latest single “Miasma” is making us sit up and take note. Mixing lo-fi synths with charming melodies and analogue experimentation, “Miasma” evokes a cocktail of sounds from the offset that are bound to perk your ears up instantly. Fans of Four Tet and Mount Kimbie will feel at home here.

Joel may have some very strong production talent, but he’s also a professional guitarist for indie rock group Saltwater Sun—talk about keeping yourself busy in lockdown! J. Juva is obviously worlds apart from the rock world but you can hear the gentle guitar strumming on “Miasma” creeping in, making the song stand out from the norm even more.

“Miasma” is taken from J. Juva’s upcoming EP “Protozoa,” due in stores on 24th July 2020.

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Graded on a Curve:
Albert Ayler,
New Grass

Although some have managed to expand upon his groundbreaking intensity and flights of abstraction, Albert Ayler is one of the few sui generis figures in the history of jazz. An uncompromising player with only a small following in his lifetime in music, he cut a record in 1968 that initially seemed to satisfy nobody except for (perhaps) Ayler himself. That LP was New Grass, lambasted as a sell-out by those who favored his prior work, while less adventurous listeners weren’t buying. The album has been reevaluated since however, and Third Man has given it a vinyl reissue that’s available now. In the label’s storefronts and select indie shops it can even be found on coke bottle clear 180-gram wax with opaque green wisps.

I’ve been contributing to this column for over eight years, but until this piece, I haven’t delivered a full review of a record by Albert Ayler, who’s one of my favorite jazzmen, though I have included him in this site’s New In Stores column and in at least one group review. As this omission is remedied, I feel it should be immediately qualified that the term jazzman isn’t necessarily a tidy fit for Ayler’s brilliance.

Albert Ayler was certainly a man whose work falls inside the boundaries of jazz, so calling him a jazzman isn’t in error, but it still might give those unfamiliar with his work the false impression of a figure, sharply decked-out in a classic tailored suit maybe, who excelled at extending, through live gigs and studio sessions, the core tenets of Modern Jazz.

While innovators are surely jazzmen and vice versa, Ayler remains one of the ever-evolving form’s major freedom-seeking iconoclasts. In short, he’s best placed in the avant-jazz category, which means that for long stretches after his death in November 1970 (presumably by suicide, as his body was discovered in the East River of NYC) his music was difficult to obtain. This was especially true at the end of the 1980s, which is when I first learnt of his existence.

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In rotation: 6/30/20

UK | Physical sales bounce back with 20% market share: Music retail has been back for a fortnight and the effect on physical sales is clear to see. After a vinyl sales surge last week when stores returned to the High Street after a three-month lockdown, there’s been a consolidation for the physical music market. According to Official Charts Company data, for the previous seven days physical sales were up 7.6% week-on-week to 371,738 units (physical artist albums were up 9.1%). In comparison, album streams were up just 1.8%. Crucially, physical sales were back above the 20% mark (exactly 20.0% to be precise). That’s up from 19.1% in the prior week and above the 19.4% share in the week before lockdown. During the first weeks of lockdown, physical’s share slumped. New albums from Bob Dylan, Neil Young and Phoebe Bridgers delivered decent volumes, while Lady Gaga’s former chart-topper Chromatica moved a further 4,268 physical copies.

Boston, MA | Record stores are getting their groove back: For the past 12 years, Christmas has come in April for independent record stores. The advent of Record Store Day, the annual blowout when musicians release hundreds of limited-edition recordings to support brick-and-mortar stores, has boosted the fortunes of retailers in a business that was practically left for dead by the arrival of the Internet. This year, though, Christmas never came. March brought the coronavirus, and by April, record stores across New England stood as silent as an album still sealed in its shrink wrap. John Damroth, who opened Planet Records in Kenmore Square nearly 40 years ago, furloughed his four employees and braced for financial impact. Then he went to his current location outside Harvard Square, locked the door behind him, and began filling online orders. Dismayed about closing, his mood quickly brightened. Having handled an average of 20-25 mail orders per day before the Great Pause, suddenly he had twice that many. With no live concerts to attend, it seemed that some music lovers wanted to spend some of that stimulus money adding to their record collections.

The Best Scene From ‘High Fidelity’ You (Likely) Haven’t Seen: Today (June 28) is John Cusack’s birthday, and while many best remember him holding a boombox aloft and openly pining for a girl with the help of Peter Gabriel, his best role is the heavily flawed, yet endearing Rob Gordon from 2000’s High Fidelity. Based on the Nick Hornby book of the same name, High Fidelity is one of those movies to which nearly every obsessive music fan can relate. Perhaps, you’re not as judgemental as Rob or his motley crew of record store employees. (Props to Jack Black for his breakout performance as the hilarious Barry.) But his passion is all too relatable, and there’s no greater example of said passion than in the scene [above]. This scene, which was deleted from the final cut of the film, finds Rob visiting a home where a jilted wife (played by the somehow still hot Beverly D’Angelo) is selling her husband’s incredible collection of 45s. (Rob’s reaction to the collection is priceless.) The wife’s asking price? $50. Rob’s subsequent conversation with D’Angelo’s character is simply pure gold.

Iowa City, IA | There’s something special about record stores: For those who view music as a vital necessity like food and shelter, being without Iowa City’s longtime institution the Record Collector leaves a gaping hole in the soul. “A record store isn’t really a record store without customers,” said co-owner Alissa Witzke. “It feels empty and sad, like we’re just a warehouse.” The store shifted to online sales and began doing free local deliveries during the COVID-19 lockdown, which was better than nothing but not the same as the real deal. Shops like Record Collector have been a key part of the cultural landscape for decades, gathering places where ideas and musical tastes cross-fertilize. “Honestly, I just miss some of the general human interaction,” said Bobby Larson, the store’s other owner. “Community happens when you get enough of those music-fiend types together and talking, which is why COVID-19 has made things extra hard on businesses that were already troubled by the move to online sales and forums.”

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TVD Radar: Joe Bonamassa, A New Day Now 20th anniversary 2LP reissue in stores 8/7

VIA PRESS RELEASE | Twenty years ago, Joe Bonamassa took the music world by storm when he released his debut solo album A New Day Yesterday, though he’d already been on the scene for years as a child prodigy and even opened for B.B. King at the age of 12.

The album launched a career that, two decades later, has seen Bonamassa rise to the top of his field with most recently being named Guitar World’s #1 blues guitarist in the world. Today, the blues-rock titan announces a revamped version to be released on August 7th via J&R Adventures. It has been completely re-sung by Bonamassa and remixed and remastered by long-time producer Kevin Shirley. The first single “Cradle Rock” is out today as part of the celebration. Fans can pre-order the album now.

In custom Bonamassa fashion, Joe has shared a personal message to fans, straight from his “Nerdville” home. “The reason we went back and remixed it, and re-sang it, and pulled from the original masters was because I never felt like I deserved a guy like Tom Dowd to produce my first album,” he confesses. “I was an infant as far as being an artist. Tom saw a little pebble in a stream, that could travel down and eventually become this nugget of gold, if you want to call it that, and he had a vision for me that I didn’t see. I appreciate that and I wanted to pay tribute to him as a man who mentored me through that time. I hope you enjoy it.”

He continues, “Tom Dowd was a master of everything he endeavored on. There was no second rate, there was no compromise on quality of absolutions and results. I wasn’t developed enough as a musician myself to rise to his level. I certainly gave it my all and rose to the occasion grading on the curve of the musician I am today, the musician Tom always knew was inside my soul. I decided to enlist the help of another producer and mentor that has significantly impacted my life both on a personal basis and professionally, Mr. Kevin Shirley to help re-mix, re-sing and finally pay tribute to Tom as I tried to so hard to when he was alive.

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Joy Division, Unknown Pleasures–An Enduring Legacy

As the gritty 1970s turned into the gaudy 1980s, three friends on the brink of their twenties in Ruislip, a London suburb, Dave, Ken, and Mark, were consumed by music. Home to ancient parishes, Ruislip’s steel-laden sky dims the life beneath it. Dulling the atmosphere even further was Prime Minister Margaret Thatcher, otherwise known as the “Iron Lady.” Clamping down upon workers’ unions, civil unrest, and racial tensions, the class divide soared and not much since has changed. Existence is an intermix of negative and positive tensions and the most compelling music is a mirror of these forces. Joy Division’s Unknown Pleasures is its ultimate reflection.

Unknown Pleasures was released on June 15, 1979. Shoulder-to-shoulder with Siouxsie and the Banshees, Joy Division are considered to be pioneers of post-punk and their music was unlike anything heard at that time. The album is a marriage of two genius individuals—lead singer Ian Curtis, author of inwardly perceptive and melancholy lyrics, and studio maven Martin Hannett behind the production console.

As drummer Stephen Morris said in a recent livestream, “Headstock Festival Presents: Moving Through Silence,” a tribute at the 40th anniversary of Ian Curtis’ death, “He’d have notebooks full of words. We’d just start playing the riff and he’d go into his MacFisheries bag and pull out a piece of paper and just start singing. At the time, everyone was starting a band, but he loved writing and poetry. He was into T.S. Eliot, and Burroughs, he was very very literate, and very creative. I met his English teacher, he’d sent me a nice email saying how much he thought Ian was very talented, even at school as a writer. If he hadn’t done music, he would have written fiction.”

With a background in chemistry, Hannett understood science but was fascinated by sound. Unknown Pleasures was his great experiment with the latest technology—the first AMS Digital Delay Machine. His control was legendary, drummer Stephen Morris made to play every drum separately on some tracks—an insane process that created the atmospheric space the album is known for. By isolating each member in the studio and also mixing the album himself, Hannett was able to craft Joy Division’s sound and style—the subsequent output a masterpiece that is just as avant-garde now as it was then.

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Suzi Quatro,
The TVD Interview

Suzi Quatro knows exactly who she is and what she wants. That’s the impression she gives, even on a crackling Skype call across the Atlantic. I spoke to her in the first few weeks of the COVID-19 pandemic, before either of us had any idea just how crazy the next six months would be. “It’s pretty scary,” she said, when I asked her how she was staying sane back in those early days. “I’m trying to be creative, I’m working on the next album with my son right now… and taking a six mile walk [with him] every day.” As she and the people who know her best readily attest, she’s always raced through life at a breakneck pace, and at 70, she shows no signs of slowing down.

In addition to working on a new album with her son, Richard Tuckey, she’s planning to put out another book, maintaining a presence on social media, and even cleaning up after herself. “Of course my cleaner can’t come so I’m going against my religion to clean it myself. I have to have music on when I clean so I’m dancing around to my Motown,” she says. “That just makes it a little quicker, when you can do the Temptations, you know? I was cheerful for about the last two weeks but that seems to have gone away…”

We chat about her other musical influences and what’s stuck with her since the Sixties: Otis Redding, Billie Holliday, Bob Dylan, and (of course) Elvis Presley. “The music that you listen to as a teenager really stays in your heart forever,” she says. “I saw [Elvis] on TV and knew I was going to do what he did.” Her preferred medium? Vinyl, of course. “Nothing quite like it. The old days you’d go and flick through the sleeves and hold it in your hands… just fantastic. There’s a whole new vibe in vinyl. It’s beautiful in its imperfection.” The same might be said of Quatro’s whole career.

She talks about her favorite tunes with the same electric energy that made her a household name in the music business in the 1970s, singled out for stardom by Mickie Most. “I can’t remember a time when I wasn’t… getting up and doing a number,” she tells me. “I was always a performer, always, from a little girl. And in fact that’s what I put on my first passport [with the Pleasure Seekers]. I was the only one that put down ‘entertainer’ as profession… It says a lot about my mindset back then.” This, in her own estimation and that of the friends and family who populate her upcoming rockumentary, Suzi Q, is the leitmotif of her life: uncompromising ambition. Suzi Quatro was determined to be a star.

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Graded on a Curve:
Alice Cooper,
Love It to Death

Alice Cooper, 1971; it’s almost enough to break your heart. Alice put out two LPs that year, Love It to Death and Killer, and both include a handful of incredibly great hard rockers combined with their fair share of duds, including a boring nine-minute workout on Love It to Death (“Black Juju”) and the equally coma-inducing eight-plus minute “Halo of Flies” on Killer. I know bands were often contractually obligated to produce two LPs per annum back then, and that may or may not have had something to do with the limited number of fabulous tracks on both LPs. But imagine, just for a moment, had Alice Cooper put out just one album in 1971, an album containing the best songs from both LPs. The finished product would have been brilliant, and one of the best rock LPs of all time.

Alas, you can’t turn back the clock—if you could, I’d move it back to the glory days, when I could smoke tons of pot and not get paranoid—and we’re stuck forever with two woulda-coulda been tremendous albums marred by too many weak tracks to be called great. As for the band, they got their start in Los Angeles on Frank Zappa’s Straight label, but following the disappointing sales of their sophomore LP (1970’s Easy Action) they up and moved to Pontiac, Michigan, where they fit in perfectly with bands like the Stooges and the MC5. Cooper himself blamed the band’s failure to make a mark in LA to drugs; “L.A. just didn’t get it,” he stated. “They were all on the wrong drug for us. They were on acid and we were basically drinking beer. We fit much more in Detroit than we did anywhere else.”

It was LP #3, Love It to Death, that turned things around for the band, which consisted of Vince Furnier aka Alice Cooper on vocals, Glenn Buxton on lead guitar, Michael Bruce on rhythm guitar and keyboards, Dennis Dunaway on bass, and Neal Smith on drums. It didn’t hurt that the band was winning mucho notoriety for their elaborately macabre stage antics and androgynous attire. The kids in the concert halls ate it up, and turned the single “I’m Eighteen” into a teen anthem to boot, and Alice Cooper never looked back. The image of Cooper in garish face make-up, boa constrictor wrapped around his neck, has become part of our cultural heritage, and every bit as important as Abraham Lincoln signing the Declaration of Independence, or Lee Harvey Oswald shooting Jack Ruby.

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In rotation: 6/29/20

Redditch, UK | Vinyl records cleaned top to bottom ahead of Vintage Trax’s grand reopening: Vinyl records were cleaned top to bottom in preparation for the reopening of record store Vintage Trax. The independent store on Birchfield Road opened on June 16 for the first time since lockdown began. It has done everything in its power, including only serving one customer at a time, to make music lovers feel comfortable in their search for retro tunes. Vintage Trax owner Ros Sidaway said she was nervous to reopen but that everything has gone ‘smoothly’. “I tried online trading for a while which was okay but I soon realised it’s not what I do this for,” she said. “I’m passionate about music and I like interaction with my customers and the chats that we have. “It’s also great for them to be able to come in and have a tactile dig through our crates. It always invokes happy memories for people.

Norwich, UK | Gloves, masks and mail order – how city’s record stores are coping with social distancing: From completely reshuffling a shop to sterilising items using UV lights, Norwich’s record stores have shaken up their businesses to reopen. Beatniks on Magdalen Street, in the city centre, opened its doors to customers on Monday, June 15, when nonessential shops were given the go ahead to reopen by the government. But with record stores usually a place for music lovers to casually browse, flipping through their impressive array of records, measures to maintain social distancing have been key. John Naylor, who owns the store, said the first few days had gone well and added: “The first week and up to Monday was very, very good, not that I’m thinking this is going to be an indicator of what we’ve got to come but I was very pleased, a lot of the usual people have been in.” Mr Naylor said he had introduced a number of changes to make social distancing possible in the store, including limiting the number of customers inside at any one time.

Leicester, UK | Leicester musician who played with Stevie Wonder opening record shop in Clarendon Park: Nick Murphy’s sons – both producers and DJs- are also involved in the new business. A Leicester musician who once played with Stevie Wonder is launching a record shop in Clarendon Park. Nick Murphy will open the shop, called Shakup Records, together with his two sons, who are also involved in the music industry. The new business will be based in Montague Road, and is described as “Leicester’s grooviest new vinyl store and music hub.” Nick has had a long career in music, which in 1984 included playing on a record, Feel It, with the legendary Stevie Wonder, when Nick was in the Leicester-based group Feelabeelia. He then fronted the band Ska-Boom and has played in bands ever since, before deciding to start this new chapter in his life. He has teamed up with his sons, Sonny and Finn, who are house music producers and DJs and go under the alias Murphy’s Law. They are full-time musicians and promoters, running an event in Leicester called Full House and performing all over Europe…. “We are a family that has grown up in the area, with all three of us being musicians, and this is what spurred us on to open this record shop.

Gainesville, GA | Moe’s Record Shop finds rhythm in new downtown Gainesville spot: As soon as one vinyl record store moved out of the square in Gainesville, another has stepped in to keep the music going. Moe Lyons, owner of Moe’s Record Shop, said he never considered packing up his downtown Flowery Branch business and moving it to Gainesville, until he received a message from Joey Summer, the co-owner of Imperial Records. “He asked if I’d be interested in renting this spot,” Lyons said. “He’s an attorney and was busy doing other things and could no longer run the shop. I knew the foot traffic would be great.” During the beginning of May, Lyons opened his shop along Bradford Street. He started by only accepting customers on weekends, but is now running an 11 a.m. to 8 p.m., Tuesday through Saturday operation. “It’s been awesome since I’ve been up here,” Lyons said. “It just exciting being in Gainesville… Business is going real well,” Lyons said. “I’m meeting new people that didn’t come to Flowery Branch and just talking music with people.”

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TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

Don’t worry, baby / It goes right through me / I’m like the wind and my anger will disperse / Thin persecutors / Your twisted whispers / A horned reptile that is crawled upon the earth

I went for my usual walk / Just tell it like it is / Tell it like it was / Judge and jury, executioner / Judge and jury, executioner / Judge and jury

When darkness follows / And no tomorrows / It’s all been decided / All spies deceptive / All bouncing voices down the echo chamber / Don’t worry, baby / It goes right through me

This week was stressful. Looming over my shoulder was a summons for jury duty on Monday. Add to the mix a second wave of COVID and the continuing frustration with the social and political realities of living in a divided USA in 2020.

Along with real social unrest, it appears 40% of Americans are simply just complete idiots. Or maybe as a people Americans can’t help themselves from acting as such. The good news is things are getting so serious, there is hope that the 60% of us will hang on and make real change to save our herd. Shout out to the generals and judges for speaking out.

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TVD Radar: Eric Clapton and B.B. King, Riding with the King 20th anniversary vinyl reissue in stores today

VIA PRESS RELEASE | Eric Clapton and B.B. King first performed together in NYC in 1967. Over 30 years later, in 1999, the two longtime friends joined forces to create a collection of all new studio recordings of blues classics and contemporary songs. The resulting album Riding with the King would be released in June 2000 and go onto sell over 2 million copies in the U.S. and win the GRAMMY Award® for Best Traditional Blues Album.

To celebrate the 20th anniversary of this classic album, two additional previously unreleased tracks have been added: The blues standard “Rollin’ and Tumblin” and B.B. King’s “Let Me Love You.” Both tracks were recorded during the original sessions and were produced and mixed especially for this release by Simon Climie, who produced the original album with Clapton. The original tapes have been remastered by Bob Ludwig and is finally available again now in expanded form via Reprise Records.

The 14-track collection will be available in all formats including a 180-gram black double vinyl package. A limited edition 180-gram blue vinyl double LP set will available exclusively in Eric Clapton’s official online store and at indie retailers. The vinyl was mastered by Chris Bellman at Bernie Grundman Mastering in Los Angeles.

The original album features four B.B. King originals, plus a selection of covers from writers as diverse as Isaac Hayes & David Porter (“Hold On I’m Coming”), Johnny Mercer & Harold Arlen (“Come Rain Or Come Shine”), and William Broonzy & Charles Seger (“Key To The Highway”). John Hiatt wrote the album’s title track.

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TVD Radar: Eastrail 177 Trilogy features scores to films Unbreakable, Split, and Glass 6LP box set in stores today

VIA PRESS RELEASE | Waxwork Records, in collaboration with Back Lot Music and Hollywood Records, is proud to present the debut film score vinyl release to M. Night Shyamalan’s Eastrail 177 Trilogy. Composed of Unbreakable (2000), Split (2016), and Glass (2019), the Eastrail 177 Trilogy is a visionary comic-book film series written, produced, and directed by M. Night Shyamalan.

Unbreakable, about a security guard named David Dunn (Bruce Willis) who becomes the sole survivor of a train wreck, posed the question of what would happen if superheroes were real. At the insistence of a mysterious, rare-comic-book collector named Elijah Price (Samuel L. Jackson), who suffers from a medical condition that makes his bones shatter on the slightest impact, Dunn comes to believe that he has super strength and is impervious to injury or illness. Not only that, he has the ability to see or sense the evil deeds of others simply by touching them.

The Unbreakable score, by James Newton Howard, was the second collaboration between Shyamalan and Howard, following their work together on The Sixth Sense. The Unbreakable score experience was unlike any the composer had had before. “Night sat there and storyboarded the whole movie for me,” Howard said. “I’ve never had a director do that for me. He wanted something that was very different, very distinctive, that immediately evoked the movie when people heard it.”

Howard and Shyamalan chose to simplify the score, and minimized the number of instruments (strings, trumpets and piano), with limited orchestrations. Some compositions were recorded in a converted church in London. “You could have recorded the same music in a studio in Los Angeles, and it would have been great, but there is something about the sound of that church studio,” Howard said. “It’s definitely more misterioso.”

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TVD Radar: Giant Sand, Ramp 2LP reissue in stores 7/17

VIA PRESS RELEASE | Newly remastered double LP beautifully repackaged gatefold sleeve with new artwork and expanded liner notes with a second disc that includes Mad Dog Studio sessions from 1991. An essential Giant Sand album featuring Victoria Williams, Rainer and country veteran Pappy Allen.

A firm fan favourite, Giant Sand’s essential 1991 album Ramp was the second of three revered albums the band released in the early ’90s. Now set for a remastered special indie store exclusive, the new edition released on 17th July comes beautifully repackaged in a gatefold sleeve with new artwork and expanded liner notes from MOJO’s Dave Henderson. Ramp is a magical trip with a host of guests including Victoria Williams, Rainer and Pappy Allen.

“One of Giant Sand’s strongest and most complete albums.”
The Quietus

Featuring piano lounge music for an off-world colony interrupted by an onslaught of guitar when needed. Reverb on, fuzz friendly. Up to 11, it’s light and dark and the better for it, a musical journey on a road less travelled. All sounds are welcome; banjo, dobro, pedal steel, plaintive harmonica, whistling all wrap themselves around the flow of consciousness; those truly memorable words. The Tucson sound at its very best.

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