Author Archives: Roger Catlin

PHOTO: JAMIE HARMON | Van Duren emerged from the same burbling Ardent Studios evolutionary pond alongside Jody Stephens and Chris Bell, with whom he played in a Memphis band (and also auditioned for their onetime band Big Star). He recorded a couple of Todd Rundgren-like albums in the late ‘70s and early ‘80s that became collectors items for power pop fanatics, and inspired a couple of smitten Australian fans to to seek him out, a pilgrimage captured in their subsequent 2018 documentary, Waiting: The Van Duren Story.

Not a long-lost songwriter like Sugarman had been in his similar rediscovery documentary, Duren could easily be found right in the same rich musical territory where he was raised: Memphis. After years with his well-considered band Good Question, he has more recently been turning out duet albums with Vicki Loveland, a well-kept Memphis secret of her own.

The third Loveland Duren release, Any Such Thing on Edgewood Recordings, won’t be out until October 1, but The Vinyl District is proud to debut a track from it today, “Tumbledown Hearts.” Like a lot of their music, it’s both catchy and emotional as it addresses real relationships among grown up people.

The two say it’s “really is a song about two people finding a way to celebrate life together in spite of turmoil, misunderstandings, disappointments, and a life lived long enough to know that while rose colored glasses may not be reality, we can sure put them on if we choose to.” Such is life among creative romantics. But, they add, the song is “also about sharing companionship and comfort in an adult world with another battered but hopeful and optimistic soul.”

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Out of all the musicians knocked off the road by the pandemic, it must have been a real strain on Bob Dylan. A guy who has essentially played one tour after another since 1988, totaling more than 3,000 shows, pausing only a few months during a health scare in 1997, he had seen nothing like this eradication of his touring schedule. 

He filled it initially with his remarkable “Murder Most Foul,” an unexpected, 16-minute rumination about the assassination of JFK that was also his first No. 1 single, 57 years into his recording career. Released March 20, 2020, soon after lockdowns began, it was an anchor for his 39th studio album Rough and Rowdy Ways, released in June 2020.

It took a while, though, for Dylan to catch up to fellow artists using the internet to stream concerts as a way to connect with fans and maybe make up for all that lost touring revenue. Dylan had gotten used to traveling the world and reworking his tunes while dressed in cowboy garb and maintaining his career-long mystery before devoted fans.

His streaming event Shadow Kingdom on Sunday allowed him belatedly to continue that interest. On stages he surrounds himself with old Hollywood klieg lights and smoke to create a kind of atmosphere. In his streaming concert, smoke almost takes over.

The idea is that he’s in an imaginary ’30s cafe — the nonexistent Bon Bon Cafe in Marseilles, France (given “special thanks” in the credits). But with the cowboy hats of the denizens, surrounded by columns of long neck beers and overflowing ashtrays, it’s more like a period cafe in Hollywood, where it was almost certainly created. A slightly different setting for some songs has him on a checkerboard linoleum, adding to the dreamlike Twin Peaks nightclub vibe.

Not a live event, the 50-minute, 12-song presentation is more like an extended black and white video. There are no songs from Rough and Rowdy Ways (whose cover suggested a similar fantasy juke joint), and nothing in fact from the past 30 years of the Dylan songbook.

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Rising like a shimmering fever dream in the middle of the desert, Las Vegas has always been about fakery.

Magicians and impersonators continue to be top draws in showrooms, the best of them mystifying the tourist flocks. Casinos are constructed to emulate ersatz pyramids, Roman coliseums, Parisian skylines, and the whole of New York City. Inside them, you are led to believe you might actually win at the tables.

So as Vegas lumbers to reopen with the rest of the country (though its pandemic numbers and deaths are currently worst in the nation) it is the tribute artist fill-ins who largely fill the musical bill in showrooms.

They currently include a fake Rat Pack, three different fake Motown revues, a generic Queens of Rock show, and a couple of Michael Jackson recreations. There is a rock revue of questionable taste, 27 – A Musical Adventure, impersonating rock stars who died at age 27, from Jimi, Janis, and Jim to Amy Winehouse and Kurt Cobain. There’s an Australian Bee Gees (though the originals were Aussies too, right?) and the long-running smorgasbord of subterfuge, Legends in Concert.

There’s one show dedicated entirely to Elvis and two for Prince. One of the latter is Purple Reign: The Prince Tribute Show which has been performing around Vegas long before its subject died in 2016. Its star Jason Tenner has been putting on the purple costume for 25 years and generally stays in the realm Prince created in his 1984 film—down to giving a big chunk of the hour long show to Morris Day and the Time. Nothing wrong with that. Prince wrote and produced most of that music as well, their appearance and cavorting allows Tenner to go off and do costume changes.

Adding shimmying dancing girls is probably a law for every show on the Vegas strip so a couple of them gyrate here. Add a singer and they become Vanity 6 (paying tribute to yet another singer gone before her time; Vanity died in 2016 at 57).

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Given the size and power of the Baby Boomers demo, it’s a wonder the whole of TV isn’t back to back classic rock documentaries. But there are actually quite a lot of them.

The most annoying of the lot are like PBS’ new Icon: Music Through the Lens, an exhaustive and exhausting six-hour (!) celebration of the rock photographers who brag about the work they’ve done, repeat the same points over and over (“It’s about capturing a moment”) and use the word “iconic” to mean “a picture I did that I remember.” Perhaps because it’s Brit-centric, none of the images held up as iconic actually are. Like me, you may have never even seen many of them before.

For all their celebration of rock stars, they’ve neglected to license much of their music, so generic music plays underneath the boasts and florid remembrances. One guy who has stayed remarkably humble despite making music that actually is iconic is Paul McCartney, whose television appearances can be wanting. Even so, it looked like his 2018 Carpool Karaoke with James Corden would ever be topped.

But now comes the unexpected delight of Hulu’s new McCartney 3,2,1, a black and white document of the meeting of the former Beatle with famed and supremely bearded producer Rick Rubin to dissect the old songs. Mulling over the Beatles oeuvre on a mixing board so that individual tracks can be isolated is something their producer George Martin did on a public TV series a decade or so back.

But here it’s McCartney himself who takes the sliders in his hands to hear previously unnoticed aspects of songs we all thought we knew front and back. More often it’s Rubin, an admirer of his guest but never fawning, who takes the controls. From the first of six half hour segments, something as seemingly simple as “All My Loving” is shown to have all kinds of complexity beneath, with John Lennon’s frenzied rhythm guitar parts underlying the entire song.

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It was Free Comic Day that inspired Record Store Day, the annual celebration for vinyl fans that began in 2007. And what started as a promotion among 100 stores in the US has grown into an international event that not only survived the pandemic but had its biggest year ever last year by splitting its annual Record Store Day drops into three separate days to keep the crowds smaller and distanced.

At a time when the vinyl version of Taylor Swift’s six month old Evermore album took her back to No. 1 (from No. 74) this month, we talked to event co-creator Michael Kurtz in the lull between this summer’s two events, June 12 and July 17.

What have you heard about the success of this year’s first Record Store Day June 12?

The reports I’ve seen is that, with the second one, it should actually surpass the success of last year’s event.

How do you measure that?

Breaking all records for selling the most vinyl at independent retail. And the only barometer for that is MRC Data for Billboard, which we know is not perfect, but it definitely gives you a clear indication and we heard from the store owners themselves that the data supports.

How did last year become such a big year despite the pandemic?

We did a lot of work in advance for the three drops we did last year—Zoom calls with record store owners, lots of email discussions about how to morph and allow stores to operate. If they had no restrictions they could sell as normal, but if there was a lot of restrictions, and mandates for mask wearing and social distancing, then they would benefit by splitting all the release over three days, so we didn’t overwhelm the store with too many people and then we allowed the stores to online at 1 PM eastern time on their store websites to take care of people who were not comfortable shopping. All three of those things enabled it to be just a huge success.

And that’s why this year’s was broken into two dates as well?

Yeah, it’s the same thing.

Do you hope things will be back to normal by Black Friday or next year?

Yeah, we hope so.

What’s the reason there has been an increase in vinyl sales for 15 consecutive years?

I think it’s because the vinyl format has been adopted by whatever the youngest two generations talk about in marketing terms. For people that are less than 38 years old, vinyl is their format. They completely adopted it. The majority of people who shop in record stores now are female and the average age is 28. So they’ve taken it over. That’s why you also see the top sellers are Lady Gaga, Haim, Ariana Grande, that kind of thing, because it’s that next generation.

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Picking an epochal year in music can be tricky. While 1954 or 1977 may be easy choices for turning points in rock, I was always partial to 1966. Ronald Brownstein’s new book Rock Me on the Water zeroes in on 1974. And an inviting new eight-part series on Apple TV+ picks 1971.

At first sight, the tight focus on that 12-month period in 1971: The Year That Music Changed Everything seems almost arbitrary—except that we’re in the golden anniversary of it.

Fifty years ago was two years after Woodstock, a year after The Beatles broke up and Jimi Hendrix and Janis Joplin died, but years before punk or hip-hop would fully emerge. Other than the historical symmetry of being exactly 50 years ago, did it stand out? Sure, there was a lot of great music that year, the series makes clear, but did it actually change everything?

The series by Asif Kapadia and James Gay-Rees, who worked their magic in the Oscar-winning Amy Winehouse documentary Amy, makes its case thematically, with historical turning points saturated with the music of the day—songs that were not just influenced by the events surrounding them, but actually influenced the events as well.

Based on its own book, 1971 – Never a Dull Moment: Rock’s Greatest Year, by David Hepworth, the filmmakers rely solely on archival material, news clips, TV performances, home movies and still shots, stitched together to create a visually captivating portrait of an unsettled era not unlike our own. They match it to the voices from interviews both contemporary and archival, lending it an immediacy that doesn’t take one out of the era by actually seeing those who are speaking from today’s vantage point (so we dwell on how old they of course may look 50 years later).

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A year in quarantine lockdown can be overwhelming, especially for a band that is so used to being on the road as Tower of Power, the mighty soul outfit from out of Oakland, California. “I’ve toured 200 days a year for the last 53 years, so yeah, it’s difficult,” band co-founder Emilio Castillo says.

But they’ve used their time wisely to put finishing touches on their new release 50 Years of Funk & Soul: Live at the Fox Theater, Oakland, CA – June 2018, a three-LP set due out March 26 from Artistry Music/Mack Avenue Music Group that includes versions of its biggest hits from “What is Hip” and “Don’t Change Horses (in the Middle of a Stream)” to “So Very Hard to Go” and “You’re Still a Young Man.”

The Vinyl District caught up with Castillo in his home in Scottsdale, Arizona, where he’s lived for 26 years but never so much as in the last 12 months.

Has Tower of Power played at all in the past year?

We did one gig in September where it was a drive-in gig. We did two shows with Los Lobos and it was very successful.

How does a drive-in concert even work? Do people have to stay in their cars?

No, they could get out and be in front of their car, and the mix was broadcast on an FM frequency so it went to the radio. We played in Ventura [at the Ventura County Fairgrounds], and got a lot of lowriders up in there so they came in with those big sound systems in their trucks and in their cars, It was sort of like a tailgate party. They’d be in front of their vehicles, booming it really loud, and we were on a stage, and there was an LED [screen] on all four sides of the stage, and they were all around us in a circle, spread out.

It sold out, and it was a huge parking lot, because it was a fairground. The turnout was successful. They were pleased, and two more gigs were booked immediately. It was like, all right! But then as it got closer, three days before the gig they canceled because the pandemic was spiking.

Do you have things on the calendar for this year?

Yeah we do, and then we got all these dates that we’ve got to make up. Every time we have a Zoom meeting with the band, our new manager Ivory Daniel, says, “To start the meeting right off, I want you to know: You’re booked completely all over the world. So as soon as this thing opens up, get ready to go.” So yeah, we’re booked.

There’s people that had gigs on the books that just cancelled, they’re like “We want you.” They’re opening Jazz Alley in Seattle. I’m sure we’re going to be one of the first ones back there. People in Japan, they want it. Europe. It’s going to fly.

It’s hard to know how it’s going to play out. But I know this: People are jonesin’ to get to concerts, man. They’re dying, dying to get out there and go to venues again. I hope it all just opens up completely and we let all this stuff go.

After they hear the live album they’re going to want it more.

I believe so!

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Drummer Chris Frantz has already gotten acclaim for his 2020 memoir Remain in Love, chronicling his life with Tina Weymouth in Talking Heads and the Tom Tom Club. But now he’s planning a second book, using the skills he honed at the art school where Talking Heads sprang.

“I just got a shipment of art supplies,” Frantz announced at a recent online chat sponsored by the Mark Twain House in Hartford. “I’m going to start a new book, which I’m going to illustrate. I’m giving you the exclusive. I’ve never illustrated a book before. I didn’t study illustration or anything, but I’m going to give it a go.”

Frantz’ event was part of his Covid-era book tour chat that I was lucky enough to host. What was his connection to the Mark Twain House? Well, he and Tina Weymouth have lived in Connecticut for years, as Twain did.

And there’s more: Weymouth’s great-grandfather, the French poet Anatole Le Braz, “the Bard of Brittany” was a contemporary and friend of Sam Clemens. And Twain’s celebrated Hartford neighbor, Harriet Beecher Stowe, witnessed a Kentucky slave auction that led to Uncle Tom’s Cabin during a time when she was staying at the house where Frantz’s grandfather was raised.

But mostly we talked about what also filled his memoir—life with Weymouth in Talking Heads and the Tom Tom Club. And how it all came out of art school—a common place for UK bands to form, maybe, but not so much in the states. In their case, it was the Rhode Island School of Design, circa 1973, and they were out for fun.

“It was called the Artistics,” Frantz said of the band they formed at the Providence school. “It was David Byrne and myself and another guy named David Anderson who is a friend of mine from Washington, Kentucky, and Hank Stahler on bass. People came and went. We had friends coming and going in the band all the time. But that’s where we wrote our first songs.”

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Awaking from a nap to someone staring at you can be a little creepy. But it’s all benevolence and love in Eric Bazilian’s jangly new single “Sarah When She’s Sleeping,” getting its video premiere today at The Vinyl District.

The co-founder of The Hooters, whose songwriting has included Joan Osborne’s enduring “One of Us,” Bazilian says the new song is meant to be “a shameless declaration of love and redemption, for and by a good and kind woman. He says he’s trying to convey “the sense of home that I get when I see my partner peacefully at rest and hear the sweet sounds she makes when she’s there.”

That explains the bit of soft snoring at the beginning and end of the succinct single, but it’s all catchy power pop in-between, with Bazilian on guitars, bass, keyboards, and the mandolin-adjacent mandola. Drums are from Roman Ratej, recorded in Slovenia by Martin Stibernik.

It’s the fourth in a series of singles that precede Bazilian’s new solo album expected later this hear—his first since 2002’s A Very Dull Boy. (He released What Shall Become of the Baby with Swedish collaborator Mats Wester in 2012.)

Bazilian still lives in Pennsylvania, where the Hooters once sprang and notably played Live Aid in 1985. But he often records in Sweden, where he has a basement studio. It’s been in Stockholm where he’s been riding out the pandemic while working with developing artists like Slovenia’s Manu and Philly’s Alexis and the Medicine.

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Mark Farner, the long-haired, bare-chested frontman of Grand Funk Railroad, keeps chugging along at 72, releasing a new DVD From Chile with Love this month with the band he fronts, which takes the name of one of Grand Funk’s most popular songs, Mark Farner’s American Band.

He’s also among the Michigan rockers asked to join in on Alice Cooper’s current album, Detroit Stories. And in a Covid-era that has otherwise wiped out touring schedules, Farner was one of the performers at the partisan, largely maskless New Year’s Eve party at Mar-a-Lago.

Farner still remembers the vinyl that has most inspired him, back when he was in The Pack, the Michigan-based, pre-Grand Funk group that had broken off from regional rockers Terry Knight and the Pack. “We were coming back from Nashville, Tennessee,” he tells The Vinyl District. “We had just recorded a record in this guy’s garage.” They were excited about their cover version of Bob & Earl’s “The Harlem Shuffle” and wanted to get it into the hands of Flint disc jockey Bob Dell at WTAC as soon as possible.

“We were driving fast, breaking the speed limit, trying to get to WTAC before Bob Dell went off the air, so we could hand him this acetate and see if he could play it,” Farner says. “So we come screaming into the parking lot, we all jump out and run inside the station. We say, ‘Bob, we just recorded this record, man, will you spin it?’ And he put it on the spindle and he spun our record. That’s how things got done back then.”

But as they were leaving, the disc jockey pointed to a pile of LPs by the door. “If there’s anything you want, take it, because all that stuff is going in the dumpster today,” Dell told them. Farner was taken by the striking turquoise and purple cover of Get It While You Can by someone he didn’t know, Howard Tate. “Out of all that vinyl that he was going to pitch out, that’s the only one that really caught my attention, I don’t know why. I thought, this one looks cool. I took it. And when I got home, holy crap, dude, I found out why.

“This is the guy I tried to pattern my vocals after: Howard Tate. And if you listen to that album Get it While You Can, that influenced so many people. Janis Joplin, it influenced her. It influenced Aretha Franklin. It influenced Little Stevie Wonder. The people, after years had gone by, and I had been developing my style you hear all this people in different articles, they would mention Howard Tate.

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Let us now praise Enoch Light.

A violinist and dance band leader from the 1920s to the ’40s, his name became associated with an avalanche of instrumental albums in the late ’50s and ’60s, hit sound effects records that demonstrated the possibilities of stereo, and a string of albums of light, jazzy vocalese groups that became influential. Altogether, Light released 25 albums from 1959 to 1971, with two reaching Number 1; he held the record for having the most charting LPs without a single Top 40 single.

But to his grandson, Jon Light Klages, it mostly meant a whole lot of work, hauling boxes of records from the main offices of the label Project 3 to the post office, a moment of time he encapsulates in a new track “1133 Ave. of the Americas (For Enoch Light)” that’s getting its premiere today at The Vinyl District.

“Every day, I would grab as many packaged LPs as my scrawny teenaged arms could carry and head to the post office on 42nd Street between 8th and 9th Avenues,” Klages recalls. He’d grow from those teen years to become a founding member in the influential Hoboken outfit The Individuals with Glenn Morrow, Doug and Janet Wygal, and would later record his own solo album for Hoboken’s Coyote Records that included the recording debut of Ira Kaplan and Georgia Hubley of Yo La Tengo. After touring with Richard Lloyd of Television, Klages moved to Los Angeles, where he’s worked with various bands of its Paisley Underground.

The blissed-out bossa nova of his new album Fabulous Twilight might seem incongruous with his past, unless one begins digging back into the Enoch Light history. In addition to canny symphonic versions of popular music and a Number 1 album, Persuasive Percussion, Light helped introduce the harmony groups like The Free Design, whose work has gone on to influence Stereolab, Beck, and the High Llamas.

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Celebrating Sergio Mendes on his 80th birthday with a look back at our conversation from last year with the boss nova superstar. —Ed.

Six decades after the rise of bossa nova, and more than a half century since the heyday of Brasil ’66, the music of Sergio Mendes is poised for another serge in popularity with the release of a new documentary and album.

John Scheinfeld’s new documentary Sergio Mendes: In the Key of Joy premieres Saturday, January 18 at the Santa Barbara International Film Festival. Next month it will be accompanied by a new album of the same name, In the Key of Joy on Concord Records, with a slate of new songs with guests stars that include Common, Hermeto Pascoal, and Joe Pizzulo among others.

“One aspect of Sergio’s long and impressive career that has impressed me is how he has successfully navigated the career peaks and valleys encountered by most artists,” says Scheinfeld, whose previous films include The U.S. vs. John Lennon, Who is Harry Nilsson (And Why is Everybody Talkin’ About Him)? and Chasing Trane: The John Coltrane Documentary. “Amazingly, he has found a way to push the envelope and transform his sound from decade to decade while always remaining relevant and staying true to his musical roots.”

A three-time Grammy winner, Mendes has released dozens of albums over the years, had some top 10 singles with remakes of “The Look of Love” and “The Fool on the Hill” in 1968, and returned with a hit 15 years later with another Top 5 hit, “Never Gonna Let You Go.” He remade his “Mas Que Nada” with Black Eyed Peas in 2006 and earned an Oscar nomination for a song in the 2012 animated Rio. We caught up with Mendes, 78, this week over the phone in a call from his home in Woodland Hills, California.

How long did it take to put the documentary together?

Two years. John Scheinfeld did the John Coltrane documentary and Harry Nilsson. He’s a great guy, very musical. We went to Brazil, we interviewed a lot of people down there, we got a lot of old, great footage. And it’s just great. I’m very, very happy about it.

And you recorded a new album to come about the same time?

Yes, It’s got a lot of young artists—newcomers—and a lot of new songs, no covers. And of course vinyl, which I love. I have a 26-year-old, he buys two records a week. And his deck, you know, the turntables…the other day I had dinner with my friend, the great engineer Bernie Grundman, and he was talking all about the resurgence of vinyl. We are all very happy about it.

It’s part of your legacy too, with those great albums of the ’60s and their great artwork. You don’t get that impact in smaller formats.

Yeah, absolutely, absolutely. Or streaming—you hear one thing and throw it away. It’s kind of weird for me.

You’ve never taken a break, have you? You’ve been performing pretty consistently for six decades?

As long as God allows me to do it and gives me the health, I’m there and ready.

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Save the flowers and candy hearts. The new video from Spizzenergi, a crunching cover of David Bowie’s “Valentine’s Day,” addresses much darker concerns.

The hard-charging adaptation of the rocker from Bowie’s 2013 album The Next Day gets its premiere here on The Vinyl District today with the growling vocals of the frontman and band mainstay Spizz. At 62, Spizz looks like a better aged Johnny Rotten, backed by the guitars of Luca Comencini and Phil Ross with bassist Ben Lawson and drummer Alan Galaxy.

Adding to its authenticity is the mix by longtime Bowie producer Tony Visconti, who played bass on Bowie’s original. “The reason for covering ‘Valentine’s Day’ was initially for a Bowie festival we were booked to appear at,” Spizz says. He had gotten tickets for his birthday to see Bowie’s acclaimed Lazarus at Kings Cross Theatre in 2017 and went with Comencini, and says they “were both knocked out by ‘Valentine’s Day,’ which featured prominently in the performance.”

The song may have been overlooked, Spizz says. “At the time I checked on YouTube and couldn’t recall finding any [cover] versions so that was another good reason” to do it. They added it to their roster for BowieCon and it stood out, he says. “As a performer you get a feel from an audience and when we performed it live we felt their surprise and afterwards their applause which indicated we’d made a good choice.”

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