Monthly Archives: February 2023

TVD Live Shots: Gojira at Alexandra Palace, 2/22

I’ve seen some heavy shows in my life, but holy hell, this one takes the cake. Gojira absolutely destroyed the ten thousand-plus capacity Alexandra Palace in London last week, and this show was mental.

Not only was the music next level, but the stage show was one of the biggest and best I’ve seen in the past decade. Flames shooting up from the stage like a metal volcano, smoke machines and lasers—it’s like they were trying to set the place on fire, but in a good way. And the crowd, they’re going mental too—headbanging, moshing, crowd surfing, and screaming along to the words as if there was a prize for the best Gojira karaoke of the night. This was my first time seeing these guys, and I can’t believe it’s taken this long, as I really had no idea what I was missing. It was a sight to behold.

While French and metal aren’t two words you hear very often together in the same sentence, Gorija has put France on the metal map just as Sepultura did for Brazil back in the ’90s. And while there may be a few similarities in styles, brothers Joe (lead vocals, rhythm guitar) and Mario Duplantier (drums), along with Christian Andreu (lead guitar), and Jean-Michel Labadie (bass), Gojira is not your average metal band. These guys are on a whole other level. Their music is like a force of nature, with crushing riffs and complex rhythms that hit you like a tidal wave.

There’s no denying that Gojira are the current reigning kings of metal on the global stage, and no one can fucking touch them right now. As one of the most innovative and influential bands in the genre, they’ve developed a unique style that blends elements of death metal, progressive metal, and post-metal creating a sound that is both heavy and atmospheric. This technical prowess is also evident in their live performances where they are known for their tightness and precision. Their songs are complex and challenging with intricate rhythms and time signatures that push the boundaries of what is possible in metal music.

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TVD Radar: The Lost Weekend: A Love Story
in theaters 4/13

VIA PRESS RELEASE | “A compelling documentary…a fascinating, revealing, and sometimes moving portrait of John Lennon.”
Owen Gleiberman, Variety

Iconic Events will release The Lost Weekend: A Love Story on April 13th as a Special Event, leading into limited theatrical engagements starting on Friday, April 14th. The revealing and compelling documentary, with never-before-seen footage, moved audiences at its world premiere at the Tribeca Film Festival last June, garnering both critical and audience acclaim. The film is produced and directed by Eve Brandstein, Richard Kaufman, and Stuart Samuels.

Billed as “a weekend that lasted 18 months and a love story that took 50 years to tell,” The Lost Weekend: A Love Story explores the 18-month relationship (1973-1975) that John Lennon spent with May Pang, his Chinese American assistant turned lover (on Yoko Ono’s insistence and which she came to regret).

With May’s help, Lennon reunited with his son Julian and had his most artistically and commercially productive period post-Beatles—with the albums Mind Games, Walls and Bridges, which included his only #1 Hit Single “Whatever Gets You Through the Night,” Rock and Roll and collaboration with rock legends Elton John, David Bowie, Harry Nilsson, Mick Jagger, and Ringo among others. Pang chronicles it all revisiting her younger self, as a naïve 22-year-old experiencing her first unforgettable love.

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The DC Record Fair returns to Eaton DC, Sunday 3/19

Now in its 14th year, DC’s twice yearly record dig, The DC Record Fair returns to Washington’s vinyl and community-centric Eaton DC on Sunday, March 19, 2023.

As with each event, we’ll have 35+ vinyl vendors from up and down the East Coast, thousands of records, hi-fi options, the special DJ line up—and hey, keep your wallet in your pocket for this one as the event is free of charge for the entire day.

Our thanks to YouTube user Abigail Bender for a recap of last October’s DC Record Fair above!

Mark your calendars! 
THE DC RECORD FAIR

Sunday, March 19, 2023 at the Eaton DC, 1201 K Street, NW DC
11:00AM–5:00PM—and free all day!

RSVP and follow via Facebook.

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Graded on a Curve:
The Rolling Stones,
Their Satanic Majesties Request

Remembering Brian Jones, born on this day in 1942.Ed.

Few albums have been as vilified or written off as colossal missteps as The Rolling Stones’ Their Satanic Majesties Request. There’s Taylor Swift Sings the Songs of Captain Beefheart, and Arnold Schwarzenegger Sings Barbra Streisand, but neither of these albums can hold a candle to the Stones’ 1967 answer to the Beatles’ acid-influenced Sgt. Pepper’s Lonely Hearts Club Band. Their Satanic Majesties Request was quickly dismissed as a shameless attempt to keep up with the psychedelic Jones’s, and the critical blowback was so negative that the Stones promptly hopped to it and followed Satanic Majesties with Beggars Banquet, an LP so down to earth a filthy toilet graces its cover.

Aside from “She’s a Rainbow” and “2000 Light Years from Home” you’re highly unlikely to hear any of Satanic Majesties’ songs anywhere, and the Stones themselves haven’t had much good to say about it over the years. Keith Richards called it “a load of crap,” while Mick Jagger said “there’s a lot of rubbish” on it. But it has its fair share of cultists, whole heaps of them in fact, and they love it to death. And their waxing enthusiastic over the LP finally got the better of me. Just how bad could it be, after all?

Not bad at all is the short answer. Strange, far stranger than Sgt. Pepper for that matter, Their Satanic Majesties Request has more than its fair share of fine moments, along with a few dubious tunes that don’t quite make the grade. Me, I’ll take it over Sgt. Pepper any day, and I think the Stones should be commended for putting out an LP that was even more experimental than its Beatles counterpart. Mick and the boys took real chances on the LP, and if they didn’t always work, at least the Stones tried.

The album’s problems have been variously attributed to there being too many people in the studio, and there being too many hallucinogens in the studio (Mick Jagger once told me, “We were eating whole sheets of acid, just cramming them into our mouths and washing them down with brandy spiked with DMT”). Then there was the desertion of the band’s disgusted producer and manager, Andrew Loog Oldham, which left the band to produce the album themselves. Oldham’s decision to jump ship hurt; Jagger attributed the LP’s shortcomings to the lack of a producer who would say enough is enough, let’s get on with it lads.

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UK Artist of the Week: SOUKOU

Berlin-based newcomer SOUKOU has just released her powerful new single “Bloodline.” It’s the perfect introduction to this formidable artist ahead of her EP release later this year.

Channelling the likes of Robyn and Solange, SOUKOU combines neo-soul with synth-pop infused sensibilities creating a sound that feels otherworldly. SOUKOU’s honeyed vocals are at the forefront as they soar over twinkling piano keys and subtle percussion.

Talking about the single, SOUKOU explains, “This song is about generative trauma. It’s about my grandparent, my parents and me. Its about healing and letting go of the stuff that doesn’t belong to you; about freeing yourself.”

SOUKOU’s forthcoming EP centers around family and asks whether the next generation can be freer if we manage to detach ourselves from our traumas. Oozing with emotion and vulnerability, SOUKOU’s latest release encapsulates this profound artist perfectly. If “Bloodline” is anything to go by, we can’t wait to hear the rest of the EP, due for release in Summer 2023.

“Bloodline” is in stores now.

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Graded on a Curve:
David Cunningham,
Grey Scale

Multi-instrumentalist, composer, and record producer David Cunningham is most well-known today as the leader of the punk-era pop deconstructionists The Flying Lizards, but his background is appreciably deeper than that. He debuted in 1976 with Grey Scale, a dive into process-based minimalism that’s as appealingly strange as it is rigorously constructed. Originally the inaugural release on Cunningham’s own Piano label, it receives its first time reissue on vinyl and compact disc (with a bonus track) March 3 through Superior Viaduct.

For those whose familiarity with David Cunningham’s work is based solely on The Flying Lizards’ version of Barrett Strong’s “Money (That’s What I Want),” which was an out-of-nowhere international hit in 1979, climbing to #5 in the UK along with hitting nine other national charts including the Billboard Hot 100, where it reached #50 (also #23 on the Billboard Dance Club Play chart), the contents of Grey Scale might be a little (or quite a bit) surprising.

But Cunningham also produced Neue Deutsche Welle act Palais Schaumburg’s self-titled debut album in 1981, plus UK post-punk art-rock titans This Heat’s self-titled debut (’79), their EP (’80) and the Deceit album (’81). Furthermore, Cunningham issued This Heat and “Health and Efficiency” on his Piano label (Deceit was released by Rough Trade).

Now, folks who’ve soaked up The Flying Lizard’s two LPs for Virgin, the eponymous first album (’79) and follow-up Fourth Wall (’81) are more likely to get the connection between Grey Scale and Cunningham’s early electro-punk makeovers of oldies chestnuts (Eddie Cochran’s “Summertime Blues” was also covered by the Lizards) and the dub excursions that dominate both records.

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In rotation: 2/28/23

Jackson, MS | Mississippi record store enlists student influencers to help business: Consumer spending surged in January to its biggest increase in over two years, aided by wage gains. January is traditionally a slow month for Phillip Rollins, the owner of Offbeat, a record and comic book store in Jackson, Mississippi. But in February, Rollins has seen sales rise as customers searched for “that record” for Valentine’s Day gifts. Rollins is focusing on a new strategy for his business: attracting more college students to the shop by offering a place for them to hang out and be part of a community. “There’s a big disconnect between college students and businesses,” Rollins said, “and a lot of college students really think there’s nothing to do or the city has nothing to offer, which isn’t true at all.” So Rollins has turned to college students for help. He’s enlisted a group of students to act as influencers for the shop. They bring their friends around and advertise events via social media.

Bristol, UK | Rise in vinyl sales sees Bristol record store busier than ever: We asked Wanted Records why music fans are reverting back to records as vinyl sales hit the highest point since the 1990s. “I can’t do anything apart from records and music,” admitted John Stapleton when I visited his record store on High Street in Bristol city centre. Those who still listen to music on a turntable will be well acquainted with Wanted Records, and since its expansion from a tiny unit in St Nicks Market to a shop a mere few feet away, it’s become even more popular. But relocating to a street with high footfall is not the sole reason John and his team are busier than ever. Change is afoot in the industry where music streaming giants like Spotify have dominated for years – in 2022, the UK saw its largest volume of vinyl sales since 1990 with 5.5 million units sold. This helped to give a previously struggling HMV its highest profits in years. Granted, this figure is solely new releases—which make up less than five per cent of Wanted Records’ stock.

SG | This Singaporean vinyl collector has over 8,000 records – here’s how he shares his passion with family and friends: Music is how Singaporean vinyl enthusiast CK Teo bonds with his loved ones – the old-school way. or audiophiles, there is little else that can compare with the rich sound quality of vinyl discs when it comes to enjoying music recordings. Even though there are now newer forms of digital music, there is still a demand for analogue sounds. “I don’t think vinyl is dead – it has never been. There are still people who love the magic behind the analogue sound,” said entrepreneur CK Teo, who has amassed a collection of over 8,000 vinyl records over the past decade. “I feel vinyls give a wider dynamic range typically. The warm sound that the vinyl creates is something that is very special. You can get more punch.” His lifelong passion for music began at a young age when he first began listening to music on his father’s cassette tapes as a child.

New Haven, CT | Author Writes A Record Store Epic: Cult band Buttery Cake Ass are playing what might be their final show, and it might be their best. There aren’t many people in the audience, but what they’re hearing is blowing their minds. The saddest songs make them all cry. The songs filled with rage seem like they could set the hall on fire. The band members are engaged in the kind of musical alchemy that maybe only happens a few times in every musician’s life. Somewhere on the soundboard, a tape is rolling. What will it sound like when they take it home? The mysteries of music, the weird family that is a band, and the obsessiveness of record collectors to find the treasures they drop captured on vinyl are all explored in The Ballad of Buttery Cake Ass, a ripping new novel by writer, musician, and comic Aug Stone. But the seeds for that novel were planted decades ago in the aisles of Cutler’s on Broadway, when two friends decided to ask for an album that doesn’t exist.

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TVD Live Shots: Cali Vibes at Marina Green Park, 2/17 and 2/18

With nearly 50,000 fans in attendance over a glorious three-day weekend, concertgoers from around the world made the pilgrimage to Cali Vibes to bear witness to musical royalty such as Snoop Dogg, Jack Johnson, and Rebelution.

Seasoned with amazing food, tasty drinks, and near perfect weather, the festival skyrocketed to a whole new level in the heart of LBC courtesy of Silverback Music and Goldenvoice. From its humble beginnings in the shadow of the Queen Mary to its new home at Marina Green Park, Cali Vibes has quickly catapulted itself from a small regional reggae event to one of the premiere outdoor music festivals in the US. Take it from me, this is one event you will want to circle on your calendar for years to come.

I’ve been fortunate to attend the Cali Vibes festival (and its predecessor One Love) since its humble beginnings in the parking lot of The Observatory OC in Santa Ana back in 2016. It’s evolved greatly since that time and has quickly become one of the premiere music festivals in the US, regardless of genre. I’ve attended countless shows and festivals over the years, s0 it’s easy for me to validate the claim as I’ve been to the majority of these events nationwide. Silver Back Music and Goldenvoice pull out all the stops to ensure fans are treated to the very best Long Beach has to offer, and 2023 Cali Vibes was no exception.

As a Long Beach resident, I was a huge fan of moving the festival to Marina Green Park from Harry Bridges Memorial Park next to the Queen Mary. Parking is plentiful in downtown Long Beach and it’s a short walk down Pine St. to the festival entrance. With enhancements to online ticketing—along with a streamlined check in / security process—entry to the festival was a snap.

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TVD Live Shots: Dream Theater at the Eventim Apollo, 2/21

The first time I heard Dream Theater was back in 1992 when “Pull Me Under” took the US metal market by storm. I was working in a record store in St. Louis while going to university, and I remember thinking, what in the hell was this? It was heavy and melodic; it was progressive metal for metalheads. 

As soon as “Pull Me Under” hit MTV and the local radio station, people were coming in droves to buy this record. The problem was no one had heard of Dream Theater previously, and the majority of people wanted to just buy the single. (Yeah, there was this thing called a cassingle at the time. Look it up.) But there wasn’t one released for this song. The only option was to buy the entire CD or nothing. Images and Words started flying off the shelves. But just as quickly as it flew out the door, it started coming back in.

People were shocked that there were ballads on the record, most notably track two showing up immediately after the hard-driving “Pull Me Under.” “Another Day” certainly slowed the pace down a bit unexpectedly, but the album picked right back up with “Take the Time” and even peaked later on with “Metropolis.” But holy shit, the metalheads just couldn’t accept the fact that there were slower songs on the record. (The lack of patience, and what was acceptable as a metalhead, was very limited.)

Mind you, this is the same year that Pantera’s Vulgar Display of Power was released, so extreme was in. (Pantera were label mates with the band ironically.) This was a decisive moment for the Dream Theater, and it split the metal community pretty much down the middle. The record label struggled a bit to figure out what to do with the band, and I think expectations were a bit muddled and the future was uncertain at best.

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TVD Radar: Karin Jones, Under The Influence of Love first vinyl reissue in stores 4/22

VIA PRESS RELEASE | Karin Jones (born and raised in Philadelphia) took her first musical steps singing in church. She was gifted with an extremely talented ear and an accomplished pianist, percussionist, and drummer, mostly developed without formal training.

In her preteens Karin and her two older sisters formed a soul group called The Jonesettes that was managed by their father. They released a single titled “Once I Had Love” / “Stop, Look & listen” on Cougar Records in 1971 and participated on the gospel classic “After While” by Rev. Arvetra Jones And The Jonesettes released on HSE Records in 1975.

In 1976 a friend of Stevie Wonder told her that Marvin Gaye was looking for backing singers for his new record and subsequent tour. Karin auditioned for Marvin and was instantly hired. They recorded the “Got To Give It Up” EP and she hit the road for Marvin Gaye’s London Palladium tour (later released as a double live album on Motown in 1977).

Soon after Karin Jones started doing session work for the renowned label Jobete Records where Teddy Pendergrass became impressed with her unique musical style. She signed with him for management in 1979, but with Teddy’s own frantic schedule, the arrangement dissolved a year later.

At a convention of the Black Music Association in Philadelphia, Karin met with Jim Tyrrell, who at the time was establishing his own label, T-Electric. Karin signed with T-Electric Records and recorded an album in 1980. However, the album was shelved because the label run out of money.

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TVD Radar: The Podcast with Evan Toth, Episode 100: RTZ: Robin Taylor Zander

Thank you for reading or watching or listening to our 100th episode of Radar! At the risk of sounding like an awards acceptee while the band begins to signal my necessary move from the stage, I’d like to thank all of the wonderful guests who have given generously of their time to share their insights about projects that they are involved in.

Thank you as well to the publicists behind the scenes who serve as liaisons and ensure that these interviews actually happen! And of course, thanks to The Vinyl District for providing a weekly platform to share my chats with you, dear readers and listeners. Of course, thank you—too—to WFDU, 89.1 FM for giving me the opportunity to transmit these interviews over the FM airwaves throughout the greater New York City metropolitan area. We hope you’ll stick around for the next 100 episodes. If you enjoy this podcast, please make sure to tell your friends about it.

This week, our guest is Robin Taylor Zander, better known as RTZ. As you might have guessed by his unique moniker, RTZ is the son of Cheap Trick’s Robin Zander. Not only is Zander a fabulous musician who has filled in for each member of Cheap Trick at some point prompting Rolling Stone to refer to RTZ as, “Cheap Trick’s secret weapon.” However, he’s also a talented writer and producer who will be releasing his first album in April titled, The Distance. The album was also mixed by the rock and roll dream duo of Jack Douglas (John Lennon, Aerosmith) and Jay Messina (Aerosmith, Kiss, Lou Reed) who have worked together for 40 years—that is another story all unto itself.

RTZ joins me—ezt—this week as we discuss his excellent new release, the production and composition which went into it, how he navigates inhabiting Cheap Trick’s world, and where he’s going next.

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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Graded on a Curve:
Joe Walsh, 20th Century Masters The Millennium Collection: Best of Joe Walsh

Wanna know what I like best about this cheapo best-of compilation with the impossibly unwieldy title? It’s a big fat example of pocket-lining chicanery. Instead of giving us the best of Joe Walsh’s solo career, the unscrupulous folks at MCA Records padded 2000’s 20th Century Masters The Millennium Collection: Best of Joe Walsh with cuts from Joe Walsh’s days with both the James Gang and its successor Barnstorm. Cheaters never prosper, or so it’s said, but in the case of this compilation we do.

Before we go on I should add that the compilation excludes Joe’s signature song, 1978’s “Life’s Been Good,” as well as “In the City” (from the soundtrack of 1979 film The Warriors) and 1980’s “A Life of Illusion,” the tunes your average listener knows him best for. This is due to the fact that 20th Century Masters The Millennium Collection: Best of Joe Walsh truncates Walsh’s career after his 1976 LP You Can’t Argue with a Sick Mind, leading the more conspiracy-minded to think he was immediately thereafter plucked up by an alien spacecraft for some healthy anal probing.

As for the compilation itself, it’s a hopeless muddle. In addition to the inclusion of the James Gang and Barnstorm material, you’re left to come to grips with the fact that three—count them three—of its songs (“Rocky Mountain Way,” “Turn to Stone,” and “Meadows”) appear on albums by both Barnstorm and the solo Joe Walsh. And get this—1973’s The Smoker You Drink, the Player You Get is, depending on your source, variously attributed to either Barnstorm or Walsh.

And it doesn’t help that it’s Walsh’s name that appears on the album cover. Due to all the confusion you’re left with a compilation that features either 1) three songs by the James Gang, five from Barnstorm, and two by Walsh the solo artist, or 2) three songs by the James Gang, two by Barnstorm, and five by Walsh. It’s enough to drive a person nuts.

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In rotation: 2/27/23

Katy, TX | Husband and wife approach 30 years operating downtown Katy shop, Limited Edition Art & Antiques: Having been in business for nearly 30 years now, Limited Edition Art & Antiques has served as a one-stop shop for a host of vintage antiques, vinyl records and posters. “When we started, it was just me. I did artwork on furniture and did murals and paintings,” said Elizabeth Proctor, owner of the Katy-based shop. It was not until her husband, co-owner Harry Proctor, retired from the oil and gas industry in 2009 that they introduced poster and art restoration as another facet of their business. As their services expanded, so did the model of their shop. What started as a small, single-room business that displayed art works and antiques now includes a middle section for vendors, and a large back room that contains an array of posters, vinyl and even more antique relics. “We’ve been married 40-plus years,” Harry said, “Before we were even married, we’d fantasized about having an antique shop.”

Nairobi, KE | Vinyl aficionado Jojo puts his LP collection on exhibition: Back in the day when the phonograph record was the main format for music reproduction, fans would pack record stores flipping through the racks for the latest releases. In today’s music streaming world, many fans are still excited by vinyl records and music-playing devices of the era, from the gramophone to the jukebox. Vinyl aficionado and music producer George “Jojo” Odhiambo who has been collecting records since 1978, has put up 500 Long Play (LP) discs in an exhibition named Muziki Santuri: Legacies of Vinyl Records and Popular Lifestyles, which opened last Friday at the Goethe Institut in Nairobi. When the BDLife caught up with him at the opening of the exhibition last weekend, he spoke about the challenge of selecting the exhibits from his private collection of 6,000 vinyl records. “It was a big headache choosing the final records from the collection because friends would come and say “don’t take this one, replace with this other one,” says Odhiambo.

The Reason Starbucks Got Into The Music Business: …According to longtime Starbucks CEO Howard Schultz, “Music was a natural evolution because we had been playing music in our stores for almost 30 years.” The company revved up its musical efforts in 1999 when it acquired Hear Music, an experiential retailer that encouraged customers to create their own mix CDs on-site. Starbucks integrated coffee bars into the already present Hear Music locations, a move that Schultz described as “a complementary component to the existing Starbucks stores.” After previously teaming up with Concord Records to produce a celebrated album with Ray Charles, Starbucks announced the launch of its Hear Music record label in 2007, in partnership with Concord. Considering the fact that Paul McCartney was the first artist to sign on with the label, it was a pretty big deal from the start. And though the label went on to work with other big names such as Joni Mitchell and Carly Simon, Starbucks’ involvement was short-lived – in 2008, its entertainment division handed over Hear Music’s operations to Concord Records.

Spokane, WA | Midcentury celebration: Vinyl records, vintage furniture and classic architecture collide with Parkade shop Entropy. JJ Wandler knew he had to have the windowed space at the base of the iconic Parkade parking garage’s helixed ramp when he saw a “For Lease” sign there late last year. The question was, what to put in it? “I had no intention, three months ago, of opening a record store,” Wandler said Thursday while standing on the second -floor balcony of the Parkade space. Yet, in the space of a few weeks, Wandler is preparing for the opening of Entropy, his latest foray into the music/ vintage/ art world of Spokane. He is the former owner of the downtown bar Garageland, founder of Total Trash Records and Sound in Browne’s Addition and current owner of the Bad Seed restaurant in Hillyard. His new space is the former office of one of Spokane’s pre-eminent architects, Warren Heylman, whose legacy Wandler hopes to honor, while also giving local artists room to display their work and play off the distinct styles of other downtown retailers, such as Boo Radley’s, Atticus and Petunia & Loomis.

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TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

Pretty little something crawling out of a bed it barely can climb / We could stick to something safe and low but no, the thing has set its mind / We’ve been waiting in our prime / So superior, do we mind? / You wear the leather in the streets / Another leather in the sheets

Don’t hide your kids, the walls won’t go / It’s not Berlin or Jericho / Don’t hide your kids, the walls won’t go / It’s not Berlin or Jericho

Baby, your shoulder’s better than knives / Your shoulder’s better than knives / Your shoulder’s better than knives / Baby your shoulder’s better than knives / Your shoulder’s better than knives…

Never have I seen it snow in LA. Yesterday, Mulholland Drive hit 39 degrees and hail balls were a-flying! The result was a “slushy snow day.” Yet another freakish reminder about this crazy planet.

For god sake, keep those toes, fingers, and ass warm and…

If you’re curious to hear what’s new in 2023, check this week’s Idelic set of mostly new releases.

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TVD Live Shots: Anthrax, Black Label Society, and Exodus at City National Grove, 2/19

The OGs of thrash metal just took it to a new level on Sunday night at City National Grove in Anaheim. With support from Black Label Society and Exodus, Anthrax destroyed their 12-song set in front of another sold-out crowd for what arguably may have been their best live performance in years. Scott, Charlie, Frank, Joey, and Jon put on a clinic for Anthrax faithful, and by doing so reaffirmed their rightful spot atop the altar of metal.

I love myself a solid metal show. While there are many to choose from, few are able to deliver live in ways that leave fans literally unconscious after a full night of moshing. On Sunday night, Anthrax rolled into town in support of their 40th Anniversary Tour and did just that in front of a capacity crowd. Joined by the legendary Black Label Society and Exodus, the three bands tag teamed to provide a killer night of metal mayhem that won’t soon be forgotten.

First on the docket we’re none other than the Bay Area’s very own, Exodus. While drummer Tom Hunting is the only original member of the band (circa 1979), there is no dropoff in quality when surrounded by metal icons: guitarist Gary Holt, vocalist Steve “Zetro” Souza, bassist Jack Gibson, and guitarist Lee Altus. These legends were straight fire, showcasing their ballistic wares with an abbreviated set including “Blood In, Blood Out,” “The Toxic Waltz,” and my favorite, “Strike of the Beast.” Taking a quick breather after this set, I was crushed by the power of Exodus and still to this moment have a ringing in my ears that won’t go away.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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