Monthly Archives: May 2022

TVD Live Shots:
The Struts with
Nick Perri and the Underground Thieves
at the NorVa, 5/24

NORFOLK, VA | Watching The Struts’ Luke Spiller, it’s easy to conclude that he is doing what he was born to do, that “Rock and Roll Frontman” is the job description that suits him best. There would be no mistaking him if you ran into him on the street; he is a rock star. Certain comparisons are applied so frequently to him that it borders on the cliché: the hip moves of Mick Jagger, and the audience command of Freddie Mercury. I might even throw in a dash of Rod Stewart. However, it never appears to be an affectation for Spiller. He really does seem like he’s being himself onstage—sweaty, ultra-charismatic, and delighted to have complete command of his audience.

I got to experience this for the very first time in Norfolk, Virginia last Tuesday night, when The Struts graced the stage of The NorVa, the fourth stop on the English band’s Across the Pond tour. The band (Spiller, guitarist Adam Slack, bassist Jed Elliott, and drummer Gethin Davies) took the stage in matching yet personally styled stage costumes and radiated infectious energy as they led the crowd through singalong after singalong.

The impressive setlist balanced older hits such as “Body Talks,” “Kiss This,” and “Put Your Money On Me, with several songs taken from The Struts’ latest effort, Strange Days. Throughout the set, I walked around observing the audience, which ran the spectrum in terms of age. Toddlers with giant headphones where there along with folks who probably saw Queen and the Stones in the ’70s. Many people unselfconsciously danced and sang.

Once the band returned to the stage for their encore, they closed out the night with “Strange Days” and “Could Have Been Me.” This is where I saw the band’s command over the audience in full force as Spiller got the entire house to crouch down on the NorVa’s sticky floor, only to spring up a minute later, with many people breaking into song themselves. It was great to be a part of the fun. I’m no longer a Struts virgin.

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Graded on a Curve:
Sir Douglas Quintet, Mendocino

Celebrating Augie Meyers, born on this day in 1940.Ed.

Hey ears: Hungry for some delicious Tex-Mex? I recommend you head for lovely San Antonio, where in 1964 the late, great Doug Sahm put together the Sir Douglas Quintet, which proceeded to cook up a heady concoction made out of ingredients from both sides of the U.S.-Mexico border.

The band hit a creative peak with 1969’s Mendocino, which may have failed to make much of a dent on the pop charts but stands up just fine as a stellar collection of bravura performances by a band that was bravely creating its own Longhorn brand of what Gram Parsons famously dubbed “Cosmic American Music.”

What set the Sir Douglas Quintet apart from its contemporaries was its range of flavorings; thanks to the farfisa organ of Augie Meyers and the psychedelic-tinged guitar of Sahm, the Quintet could deliver the garage rock goods, but they could also turn on a peso and, by means of Sahm’s fiddle and country croon, sound like they were playing a barn dance. And on LP closer “Oh, Baby, It Just Don’t Matter” they ratchet up the decibels, crank up the guitar, and make like nothing less than a Lone Star State adjunct of Creedence Clearwater Revival.

Mendocino’s two stand-out tracks are both farfisa-fueled; thanks to Meyers the title track is one of the most cheerful salutes to a small city you ever will hear, while “She’s About a Mover” is a stone-cold rave-up, from its crunchy guitar to Meyers’ Vox Continental organ, which Sahm introduces by saying, “Lay it on me Augie.” A jerky-jerky salute to gutbucket rock ’n’ roll served up border style, “She’s About a Mover” is as timeless as they come and the most noteworthy thing to come out of the city on the San Antonio River since the Alamo.

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TVD Radar: The Podcast with Evan Toth, Episode 74: Michael Des Barres

If you consume any kind of media, then you’ve experienced the very talented Michael Des Barres. His presence is ubiquitous: he’s had a long history performing as a vocalist in rock bands, been on television hundreds of times, worked as an actor in many films, and now hosts his own music program on Little Steven’s Sirius XM channel, Little Steven’s Underground Garage.

So, it’s almost difficult to focus on just one of his projects without thinking about all of the other work he’s accomplished. On one hand, this episode features me speaking with the vocalist responsible for one of my favorite rock and roll songs, “Hello, New York” by Silverhead. But, simultaneously, I’m also speaking to Murdoch from television’s MacGyver. Few guests have such a dynamic background.

But Mr. Des Barres does his best to keep us focused on his career where it matters, he’s been there and done this before, so he can easily jump around topics all with the charm of a true rock and roll gentleman. Mostly, we’re here to talk about the band that Michael fronted during the 1970s called Detective who were signed to Led Zeppelin’s record label, Swan Song.

Their 1977 debut was recently reissued by the ORG Music record label and was completely sold out on Record Store Day. There’s a lot to discuss with Mr. Des Barres and he doesn’t shy away from any of it, including the role that drugs and alcohol played for part of his journey. But, he’s always focused on the positive side of things. He’s open about the bad and ugly experiences he’s had in his life, but, after all is said and done, he’s happiest when he’s talking about the good.

Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector, and hi-fi aficionado. Toth hosts and produces The Evan Toth Show and TVD Radar on WFDU, 89.1 FM. Follow him at the usual social media places and visit his website.

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UK Artist of the Week: Pretty Fierce

With Little Mix on indefinite hiatus it means there’s plenty of room in the UK for a new girl band to follow in their footsteps. Could Pretty Fierce be the ones to take the baton? Their debut single “Ready For Me” certainly shows promise and we’re excited to see what their movements are next.

“Ready For Me” is an infectious slice of pop-tinged R&B that immediately takes us right back to the noughties. Channeling the likes of Mis-Teeq, Pretty Fierce combine killer harmonies with some stellar sass and attitude, creating a sound that is vibrant and full of swag. Vocalist and rapper Katrina-Marie’s verse in the middle eight is particularly impressive, giving Alesha Dixon a run for her money, that’s for sure.

Pretty Fierce consists of Katrina-Marie, Georgie Ryan, Ayanda Mthethwa, and Macey Pick. “Ready For Me” is released via MackLife Records, an imprint owned by multi-platinum recording artist Mark Morrison. Who knows which artist is going to fill the pop-shaped hole in the UK right now, but Pretty Fierce could well be on their way…

“Ready For Me” is in stores now via MackLife Records.

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Graded on a Curve:
The Handcuffs,
Burn the Rails

With drummer Brad Elvis and vocalist-rhythm guitarist Chloe F. Orwell as co-leaders, Chicago’s The Handcuffs dish an auditorium-ready sound that draws upon glam rock with a proto-punk tinge, no-nonsense bluesy hard rock, and even a few fleeting snatches of art rock. The lineup is filled out by bassist Emily Togni, lead guitarist Jeff Kmieciak, and keyboardist Alison Hinderliter, with the band’s new album Burn the Rails a vibrant pounder that thrives on solid songwriting, and on two tracks, the guest synth and piano of Mott the Hoople’s Morgan Fisher. It’s out on CD and digital June 3 through Pravda Records, with vinyl to come later in the year.

The scoop is that Brad Elvis (given surname Steakley) and Chloe F. Orwell originally intended The Handcuffs to be a studio project; prior to initiating this endeavor, the pair were in the late ’90s-early ’00s indie outfit Big Hello. Burn the Rails is their fourth full-length, and it appears their vinyl debut; also, it’s their first for the long-serving Chicago-based Pravda label.

Along the way, the itch to play live has needed scratching, which isn’t a surprise given the vividness and heft of The Handcuffs’ sound. Burn the Rails is an unreservedly hi-fi undertaking, with the largeness of its rock gesturing delivered without a trace of irony (notably, Elvis has been the drummer in The Romantics for over a decade), and refreshingly so, as a unifying factor in the band’s approach is a sense of smarts that puts the kibosh on any retrograde tendencies.

Smart but not intellectual, as the title “Big Fat Mouth Shut” helps to situate. After the short instrumental intro “Grapefruit,” Burn the Rails opens proper with “Love Me While You Can,” teasing a strummer but then quickly kicking into overdrive, the guitar burn nicely counterbalanced with piano as Orwell’s sings with a swagger that’s descended from the moves that Bowie swiped from Lou.

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In rotation: 5/31/22

Madison, WI | What’s Happening With Madison’s Record Shops? Steve Manley is the owner of B-Side Records which has resided on State Street for decades. “I have no complaints, I’ve seen so many businesses get crushed by all that. And we’ve been able to hang on and we’ve been doing ok. We’re moving into a new spot, but hopefully we’ll be able to afford that by expanding our inventory. So, year. I feel like we’ve been pretty lucky.” And the move of his business due to a probable demolition of the Current B-Side building. Manley is also planning to move his business up the street, after being displaced by a plan to build a mixed-use development. While those plans haven’t been finalized, Manley decided to move anyway. “I went through the early stage of being upset about potentially being kicked out of a spot we’ve been at for 40 years almost.. To being kind of excited to start our next chapter in a new space, but also nearby. So we’re not so hard to find.”

Somerville, MA | Sip and Spin: Somerville’s vinyl index. expands shop, adds cocktail bar: You’d be surprised what an extra 165 square feet can add to a shop like vinyl index. Roughly 1,000 additional records, a cocktail bar, funky new subgenres — it’s all there, packed into the refurbished record store, which expanded its footprint at Somerville’s Bow Market earlier this spring. If Bow Market was designed to be a destination, then vinyl index. is a distinct watering hole within a destination, where you can shop, sip, spin, and socialize until 11 p.m. The expansion arrived with the shop’s relaunch of Plastic Dreams, its monthly series of “all vinyl all night” DJ events. “When we started vinyl index. we knew there would be a sum of parts that made the shop viable without strictly relying on in-store record sales, and [I] think these additional parts also make us stand apart from the rest,” explains owner Jeremy Sullivan. “Hosting DJ events in-house with drinks in hand fit right in and felt like a natural progression. We’ll always be a record store foremost but do also see ourselves as an event space and bar.”

San Diego, CA | North Park’s new Part Time Lover wants you to belly up to the bar and listen: North Park’s Part Time Lover listening-bar, opening June 8, will spin and sell vinyl from Folk Arts Rare Records. Arsalun Tafazoli’s hospitality company, CH Projects, has created some of the most high-impact food and drink spots in San Diego. But while the man behind the steak-centric “Born & Raised,” the sleek fishery “Ironside” and the swanky speakeasy “Raised by Wolves” is happy to talk about the refreshing Japanese high balls and tempting snacks you will find at North Park’s new Part Time Lover, what he is most excited about are the tasty sounds they’ll be serving on vintage vinyl platters. Located in the 30th Street space formerly occupied by the beloved Bar Pink, Part Time Lover — which opens June 8 — joins Longplay HiFi in Sherman Heights and the Convoy Music Bar in Kearny Mesa to bring Tokyo’s record-bar concept to San Diego. You can come to Part Time Lover for the croissants, coffee and cocktails, but Tafazoli hopes you will stay to hear complete sides of vinyl albums played on Part Time Lover’s custom high-fidelity sound system.

Philadelphia, PA | Vinyl Tap 215’s Duiji 13 on why he keeps spinning and bringing local DJs together: …Coping with the ups and downs, when people do try him brings us to Vinyl Tap 215, DuiJi’s self-described group therapy session cleverly disguised as an indoor DJ jam session and flea market. Rotating monthly between Common Beat Music in West Philly and Amalgam Comics & Coffeehouse in Kensington, DuiJi gathers his “Just-us” League of Disc Jockeys – vinyl avengers? – for an all-day spin-a-thon of breakbeats, B-side classics, back of the crate slept-on’s, and head rockers. The women and men on the ones and twos support one another in creating and maintaining the vibe and join one another laughing in harmony. The record collectors selling their vinyl time capsules are dungeon masters of funk with so many stories to tell. The artisans – shining with an inviting spirit as they sell their handcrafted wares – are equal parts engaging and entrepreneurial. And the host – Starfire – is a constellation too breathtaking to behold, too exciting to be missed.

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We’re closed.

We’ve closed TVD’s HQ for the Memorial Day holiday. While we’re away, why not fire up our Record Store Locator app and visit one of your local indie record stores?

Perhaps there’s an interview, review, or feature you might have missed? Catch up and we’ll see you back here tomorrow, May 31.

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TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

Hipsters, tripsters / Real cool chicks, sir / Everyone’s doin’ that rag

You needn’t gild the lily, offer jewels to the sunset / No one is watching or standing in your shoes / Wash your lonely feet in the river in the morning / Everything promised is delivered to you

I’ve often write how I’ve never cared for long weekends. My poor attitude stems from coming of age in the nightclub and bar business. It’s taken years for me to learn how to take a break.

This said, Memorial Day weekend has always been a nice “marker of time.” I remember as a kid noting, Memorial Monday was a day to hit the school yard for some serious street ball (NYC). This weekend I’m gonna do what this old Idelic rocker often does, simply pass the time with my old lady and some cool tunes.

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TVD Live Shots:
Mayhem at O2 Academy Islington, 5/22

Being a lifelong metal fan, I’ve always been intrigued by bands’ stories and legacies as much as the music. Sometimes the story overshadows the music, and other times they seem to match up just perfectly. That’s the case with Norwegian Black Metal legends Mayhem. Formed in Langhus in 1984, they pretty much invented the genre and pushed the limits of extreme metal to become one of the most notorious bands of all time. If you don’t know the story, watch the epic movie Lords of Chaos to get you up to speed.

The craziest part of it centers around the death of the band’s lead singer, simply named Dead, who committed suicide. Guitarist Euronymous found him with a shotgun blast to the head, took a polaroid, and made it into an album cover. Rumor has it that he took pieces of Dead’s skull and made necklaces for the rest of the band. I’m not doing the story justice here, so watch the film.

Original bassist Necrobutcher remains the only founding member of the band, but there are some heavy hitters who’ve been in place since the band basically relaunched after the chaos. Drummer Hellhammer (these guys have the coolest names) is the second longest-running member going back to 1987, and Attila Csihar took over on vocals in 1992. Attila is a significant force in the community and also fronts Sun O))) by the way, so the metal street cred remains.

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TVD Radar: The Iron Giant 2LP Deluxe Edition with music by Michael Kamen in stores 8/5

VIA PRESS RELEASE | Varèse Sarabande Records is excited to announce the LP release of The Iron Giant (Deluxe Edition) Original Motion Picture Score with music by Michael Kamen. Varèse Sarabande has previously released Kamen’s The Iron Giant score as a 49-minute program single LP. The 2-LP Deluxe Edition is now available for pre-order at all retailers, with a green vinyl version exclusive to VareseSarabande.com and Intl.VareseSarabande.com. The album will release August 5.

The 2-LP package taps directly into the ethos of the film, with a pull tab opening the Giant’s die-cut eyes on the front jacket. Depending on which inner sleeve has been slotted in the first position directly behind the cover, the reveal is different. Open the eyes in normal or defense mode!

Creating The Iron Giant’s beautiful, sympathetic score was Michael Kamen—one of his last major scores and his first animated film, miles away from the action blockbusters for which he had become known, but much closer to his heart. Kamen’s gorgeous score is full of melody, humor and sensitivity, grandly performed by the Czech Philharmonic. It scales as big as the threat of nuclear annihilation, and as intimate as the goodness that connects nine-year-old Hogarth Hughes to the alien machine—who decides he would rather be “Superman” than a weapon.

This Deluxe Edition adds an additional 13 minutes of alternates, outtakes and rare demos—including a piano-and-guitar attempt at an unrealized song, “Souls Don’t Die,” based on Kamen’s theme, performed by Kamen and Eric Clapton. Tim Greiving’s new liner notes feature new interview material with director Brad Bird, music editor Christopher Brooks and orchestrator Blake Neely, going deep into Kamen’s working process and their adoration for the gifted, late composer.

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Graded on a Curve: Siouxsie and the Banshees, The Scream

Celebrating Siouxsie Sioux on her 65th birthday.Ed.

My favorite Siouxsie and the Banshees fact; the early band, primitivists to the core, ditched axe player Peter Fenton because he was a “real rock guitarist.” Can’t have one of those gussying up one’s primal punk rawk sound, not if one wants to create something truly unique and new. Which is what Siouxsie and the Banshees created with their celebrated 1978 debut, The Scream. So revolutionary was their music that critic Clinton Heylin held that the post-Fenton iteration of Siouxsie and the Banshees, along with the formation of PiL and Magazine, marked the “true starting point for English post-punk.”

On The Scream, Siouxsie Sioux (aka Susan Janet Ballion), guitarist and saxophonist John McKay, bassist Steven Severin, and drummer Kenny Morris created a sound that perfectly melded discord and harmony—a twitchy, spiky, and seemingly chaotic ruckus that was actually filled with beguiling melodies.

Siouxsie’s vocals were by no means “pretty”—on The Scream she’s more attack dog than traditional female vocalist, and that’s a large part of the LP’s charm. But the real beauty of her vocals is the way they perfectly mesh with the band’s jagged yet catchy melodies; she’s in total synch with McKay’s remarkable guitar lines, and the pounding and throbbing of Morris and Severin on drums and bass, respectively.

McKay in particular is brilliant; I listen to his surprisingly ornate guitar work on, say, “Jigsaw Feeling,” and I marvel. The same goes for his magnificent guitar riff on “Carcass,” which is undoubtedly the catchiest song on The Scream. Between his guitar and Siouxsie’s alternately choppy and flowing vocals, this baby is a keeper, especially when you throw in the glam handclaps.

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TVD Radar: Liza Minnelli, Live in New York 1979 2LP red vinyl and 3CD in stores 7/1

VIA PRESS RELEASE | Liza Minnelli’s Live in New York 1979 (newly titled to avoid confusion with Liza’s 1987 Carnegie Hall album) will be available in two unique formats. On vinyl, its 2 LPs will be housed inside a gatefold jacket featuring the absolutely stunning original cover art by Andy Warhol. The insert has new introductions by both Ms. Minnelli and Great American Songbook champion Michael Feinstein, both of whom served as executive producers for this release, plus photos of the artist and liner notes from reissue producers Joe Marchese and Charles L. Granata.

The audio has been fully remastered from the original tapes by Mike Milchner at SonicVision for a front-row musical experience. But we have prepared something extra-special for the CD release. Liza also kept pristine multitrack tapes of all three nights recorded at Carnegie Hall. The tapes revealed a treasure trove of performances not included on the original double album including James Taylor’s “Everybody Has the Blues,” Kander and Ebb’s “Arthur in the Afternoon,” and “Mr. Cellophane” (the latter sung by future Dreamgirls star Obba Babatunde), a Minnelli/ Babatunde duet of Cole Porter’s “You Do Something to Me,” the funky disco jam “Dance Across the Floor,” and even a beautiful nod from Liza to her mother, Judy Garland, with a verse of “On the Atchison, Topeka, and the Santa Fe.”

These tapes have been painstakingly restored and beautifully mixed by acclaimed engineer Ted Carfrae (Doris Day, Cilla Black) for this first-ever complete presentation of Liza’s Carnegie Hall show from curtain up to curtain down.

Live in New York 1979: The Ultimate Edition is available on 3 CDs, all of which overflow with showbiz sizzle: one disc with Mike Milchner’s remastered version of the original vinyl release, which premieres on CD, and two discs with the never-before-released complete show. This deluxe edition also features an expanded booklet with additional photos, liner notes, and exclusive tributes from Liza’s friends and collaborators inside a gorgeous, 8-panel digipak boasting the Warhol portrait. Those little town blues will surely melt away as you relive this once-in-a-lifetime evening with an extraordinary artist at the thrilling height of her powers. Never before available at music retail.

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Graded on a Curve:
The Flaming Lips,
Telepathic Surgery

Yeah, yeah, I know. The Flaming Lips’ 1999 LP The Soft Bulletin is brilliant. A masterpiece released just as the sun was going down on the Twentieth Century. But for my money—which unfortunately happens to be in worthless depression era German Reichsmarks—the Oklahoma band released its finest work between 1986 and 1995, before they went and got themselves domesticated.

The Soft Bulletin is a warm and fuzzy album for warm and fuzzy people looking for an uplifting musical experience. Earlier Flaming Lips albums featured songs like “Talkin’ ‘Bout the Smiling Deathporn Immortality Blues (Everyone Wants to Live Forever),” Unconsciously Screamin,'” Jesus Shootin’ Heroin,” and “Evil Will Prevail.”

If The Soft Bulletin is a hug-your-neighbor ecstasy trip, LPs like 1989’s Telepathic Surgery and 1992’s Hit to Death in the Future Head are LSD trips—you might find instant enlightenment or, conversely, locked in a Porta-John at your local music festival, because demons are pursuing you and you need somewhere to hide.

I attended a few Soft Bulletin-era shows, and they were joyous affairs—Grateful Dead concerts minus the home tapers. The concertgoers around me had the glassy-eyed look of true converts. The only song that’s ever left me glassy-eyed is Sammy Johns’ “Chevy Van,” which ought to qualify as a world religion. Your Flaming Lips idolater is a fanatic, and fanatics can be very dangerous people.

Which is why I prefer albums like 1989’s Telepathic Surgery. It doesn’t hurt that the LP’s title sounds like the name of a Blue Öyster Cult song. But what really wins me over are song titles like “Hare-Krishna Stomp Wagon,” “Hell’s Angel’ Cracker Factory,” and “Redneck School of Technology.” And the songs are as strange as the titles. A fair number of Flaming Lips fans would hide in a Porta-John to escape them.

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In rotation: 5/27/22

For the Record: How Vinyl Got its Groove Back — to the Tune of a Billion Dollars: …A few weeks ago at the Music Biz conference, MusicWatch founder Russ Crupnick presented a new consumer research study on the topic, “Revelations About the Vinyl Revolution,” about where this growth is coming from and why – as well as how the business might expand. (The study was funded by the Music Business Association and the RIAA.) Based on more than 1,400 consumer surveys, including more than 900 vinyl buyers, the report segments the market of vinyl buyers according to how long they’ve been collecting (38% more than a decade, 30% between three and 10 years, and about a third less than two years) and how often and why they buy. Although we tend to think of vinyl buyers as a particular tribe, there are more of them than most people realize – 17.6 million in the U.S. That’s more than a third of the number of Americans who bought tracks as downloads at the peak of that market. And although 26% are “veteran and committed,” there are also consumers who focus more on packaging (26%) and artists (20%), as well as pop fans (12%) and “new occasionals” (15%).

What Nostalgia? Vinyl’s Biggest Boosts Are Coming From Pop Fans and Mass Merchants (Even if Indie Stores and Rock Still Rule): Much of the audience that is driving vinyl sales to new peaks consists of fans who are experiencing LPs as their first and only physical format. Luminate data shows Harry Styles, Taylor Swift and Olivia Rodrigo are selling the format as well as themselves. “…Rock still controls the vinyl universe,” concedes Peter Krien, senior music analyst at Luminate. But with big surges for pop and country of late — not to mention the recent development of Tyler, the Creator’s album returning to No. 1 based almost entirely on a vinyl release — “it was just nice to see some increased diversity from a genre perspective over the past year.” The preeminence of pop in the vinyl format isn’t about to end any time soon. Tuesday, it was announced that Harry Styles’ “Harry’s House” had broken the record for vinyl sales in a single week — and more than that, it’d done that in just its first three days out, with LP sales of more than 146,000 just in the first weekend.

West Allis, WI | West Allis record store changes some business practices after being victim of alleged check fraud: Record Head in West Allis has changed some of the ways it operates its business after learning it was a victim of alleged check fraud earlier this year. The business doesn’t just sell records. It also buys a lot of merchandise from customers to re-sell. Anything from a $50 game system to a $10,000 guitar. “So, when an item is more expensive, rather than keeping that cash on hand, we issue them a check,” said Bill Sanders, Chief Operations Officer at the store on Greenfield Avenue. Sanders says Record Head has issued thousands of checks over the years and never had a problem until one day in February. “We were rectifying all of our books, and my accountant was like, ‘Hey can you explain some of these charges? They’re not typical. What’s going on?’ I was like, ‘Oh I have no idea what any of that is,'” Sanders recalled. According to court documents, there were “eight fraudulent transactions totaling $2,485.36.”

Everett, WA | Vinyl Hunters: Buy One Record, or all 10,000: While meandering through the Everett Flea Market recently, I stumbled upon Vinyl Hunters. If you hear some good jams emanating through the space, it’s likely coming from Paul Burr in the back left corner of the store where he hangs out with his large collection of vinyl records. Admittedly, I had mostly just wandered into the flea market in search of home goods. Yet I managed to wander out with three new records instead. I blame Paul; in the best way. …Paul’s got it all, he shared. “Blues. Jazz. Country. A lot of stuff from the 50s-90s. There’s at least 10,000 records here.” The average price point seemed to run around $15-20; which compared to new vinyl is very reasonable. Especially when you consider that these 50-year-old records can go up in value. Don’t be surprised to see certain records priced at $50 or $100+. Paul uses, “a 16-year-old book for the prices, and then I usually add a couple bucks to make a little money.”

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TVD Live Shots: BeachLife Festival, 5/15

PHOTOS: GREG VITALICH | BeachLife is quietly becoming one of the premier music festivals in the US. With nearly 40,000 turning out, attendees could not have asked for more over a picture perfect 3-day weekend in beautiful Redondo Beach. Fans from all over the world rocked out to over 55 bands across four unique stages featuring some of the best live music on the planet today. Whether you were into classic rock, alternative, or reggae, there was something for everybody at this year’s festival.

Sunday was the final day of BeachLife 2022, and the mission was to explore some of the incredible non-for-profit organizations that supported the festival this year. As one walked around the event, it was clear that many in attendance were there to do good and share their causes with the BeachLife faithful. Organizations such as The Wyland Foundation, Heal the Bay, and Life Rolls On were on hand and available for fans to learn more about their good works. In addition, there were a number of auctions where festival attendees could bid on BeachLife themed merchandise including signed surfboards, music memorabilia, and one-of-a-kind items donated by local sponsors.

From a musical perspective, the Steve Miller Band took the pole position on Sunday and was the perfect act to end BeachLife this year. This dude has been taking names and melting faces since 1962 and didn’t disappoint on one of the busiest days of the festival. Classics such as “Fly Like an Eagle, “Jet Airliner,” and “Abracadabra” were as crisp as ever while encore “Rock’n Me” was a fitting conclusion to a set for the ages. In addition, chart-toppers like Sheryl Crow and Lord Huron wowed the capacity crowd with amazing heartfelt performances. Special recognition goes out to Ozomatli, ALO, and UB40 (featuring Ali Campbell) for their brilliant Sunday performances.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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