Category Archives: The TVD Storefront

Graded on a Curve:
Eddie “Lockjaw” Davis with Shirley Scott, Cookin’ with Jaws and the Queen

Remembering Shirley Scott, born on this day in 1934.Ed.

Credited to tenor saxophonist Eddie “Lockjaw” Davis with organist Shirley Scott, Craft Recordings’ 4LP/4CD/digital set Cookin’ with Jaws and the Queen: The Legendary Prestige Cookbook Albums offers 23 tracks cut during three 1958 sessions recorded by Rudy Van Gelder and first released as three separate Cookbook volumes and the Smokin’ LP between ’58–’64. The 180 gram vinyl is limited to 5,000 copies with the records housed in individual jackets replicating those original sleeves. The CD edition has three bonus tracks from the same sessions. The music is early soul jazz personified.

A curious jazz newbie might be wondering if this set is an overabundance of goodness. To which I will retort that Cookin’ with Jaws and the Queen offers thorough documentation of a sharp as brass tacks quintet from inside a concise timeframe; the first session occurred on June 20, the second on September 12, and the third on December 5 of 1958, with Davis and Scott joined by Jerome Richardson on flute, tenor, and baritone sax, George Duvivier on bass, and Arthur Edgehill on drums.

For this reissue, Davis and Scott are given equal credit, and deservedly so, but on initial release it was the saxophonist who received top billing, which is also understandable, as Scott was relatively new on the scene while Davis had been a member of Count Basie’s orchestra twice, along with cutting a string of records as leader or co-leader, as was the case with The Battle of Birdland with fellow tenor Sonny Stitt, issued in 1955 by the Roost label.

But in fact, Scott was indeed given a “Featuring” credit on two prior albums with Davis’s trio (with Duvivier and Edgehill), one released by Roost and the other by Roulette, both in ’58. What this imparts is how the addition of Richardson deepened a core that was already rock solid through experience. This is vitally important, as the group knocked out 26 tracks in three days spaced out over half a year.

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TVD Radar: Animal Collective, Merriweather Post Pavilion 2LP 15th anniversary reissue in stores 6/28

VIA PRESS RELEASE | Animal Collective will celebrate the 15-year anniversary of their seminal album Merriweather Post Pavilion with a deluxe vinyl repress due out June 28 on Domino.

The album will be pressed to color vinyl for the first time, available as a 2xLP in Translucent Green and Bluish, and comes in a reflective foil mirrorboard gatefold jacket. A Domino Mart exclusive variant will include a 10-inch of their iconic single “My Girls” with a B-side featuring a live recording of the unreleased track “From A Beach (BBC Session)” from a 2007 BBC Radio 1 session. Merriweather Post Pavilion was universally acclaimed upon its release in 2009 and was named the #1 best album of the year by Pitchfork, Entertainment Weekly, Spin, and KEXP.

“Every once in a while, musicians sweep away the existing musical landscape to create something new,” stated NPR at the time. “Animal Collective is such a group, and its new Merriweather Post Pavilion is such an album.” It has since been recognized as one of the most influential records of the 2000s. “When it comes to 2000s indie, Merriweather stands as the era’s alpha and omega,” Pitchfork has written, “a diamond-cut reflection of the era’s eccentricities, seemingly impossible to replicate in form or format.”

The 15-year anniversary deluxe editions of Merriweather Post Pavilion are available for pre-order NOW.

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Graded on a Curve:
Meiko Kaji,
Gincho Wataridori

Meiko Kaji is justly celebrated by fans of international genre cinema as the star of the 1973 film Lady Snowblood and its sequel from the next year. Alongside a sizeable filmography, she recorded an extensive body of work as a singer that amassed a dedicated following. The Wewantsounds label has been catering to her fanbase with high-quality reissues, and they’ve just released her 1972 debut Gincho Wataridori in an attractive gatefold sleeve deluxe edition with an insert and an OBI strip. It’s a musically swank affair, sturdy as pop but with cinematic sweep. Aficionados of global sounds, step right up.

Due to its outsized impact on Quentin Tarantino’s Kill Bill double banger, Lady Snowblood is Meiko Kaji’s most well-known film with the international audience, but she was busy before and after, and reliably in the role of a single-minded vengeance seeker; if Meiko Kaji starred in a film, it was a cinch that bloody mayhem would be part of the scheme.

Debuting in a supporting role in Retaliation (1968) billed as Masako Ota (her birth name), many standalone films and series followed. Regarding the latter, there was the Stray Cat/Alley Cat Rock series (five films, 1970–71), the Sasori series aka Female Prisoner Scorpion series (four films, 1972–73) and the two Gincho or Wandering Ginza Butterfly films (1972), the first of them giving Kaji’s debut LP its name.

Although the title song and “Ginchou Buruusu” from the film Gincho Wataridori are included on this album, it is not a soundtrack. The record also includes “Koini Inochio” and “Jingi Komoriuta” from Blind Woman’s Curse (1970), the final entry in the Rising Dragon series, and notably, the film where Masako Ota became Meiko Kaji.

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TVD Radar: Freaknik: The Wildest Story Never Told premiering 3/21

VIA PRESS RELEASE | In celebration of the SXSW world premiere of entertainment company Mass Appeal and streaming giant Hulu’s newest documentary Freaknik: The Wildest Story Never Told, they’ve joined the SXSW lineup to bring the essence of ATL’s most infamous event to Austin for one night only!

Today, March 13, at Stubb’s BBQ the all Atlanta showcase will feature a screening of the highly anticipated documentary and guest performances from beloved Atliens who helped develop the sound and style of Hip Hop’s Southern Capital. Co-hosted by legendary Hip Hop architects Jermaine Dupri and Luke “Uncle Luke” Campbell, the showcase will include sets from iconic rapper Big Boi, Flo Milli, Ying Yang Twins, 21 Lil Harold, DJ Drama, KP The Great, DJ Jelly, and a special guest.

The announcement comes days after Hulu dropped the trailer and artwork for the much-talked-about documentary. Freaknik: The Wildest Story Never Told is a celebratory exploration of the iconic Atlanta street party that started as a Black College cookout but grew to draw thousands annually throughout the ’80s and ’90s, defining Atlanta as a cultural hotbed.

Freaknik soon became known for its lurid tales of highway hookups and legendary late-night parties that ultimately led to the festival’s downfall. At its height, Freaknik was a traffic-stopping, city-shuttering juggernaut that has since become a cult classic. Though it ceased over two decades ago, the infamous legacy still resonates through nostalgia and a new generation’s longing for a carefree platform that celebrates and promotes black excellence, joy, and fortitude.

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Graded on a Curve:
U2, Rattle and Hum

Celebrating Adam Clayton on his 64th birthday.Ed.

For the longest time I had no use for U2—they were too sanctimonious and self-righteous was my opinion, and Bono stuck me as a frustrated Sunday school teacher. But as the years passed they loosened up, Bono became less of a tight-ass, and I discovered I enjoyed some of their songs, a lot. But there were plenty of haters to take my place, and they emerged from the dank caves we music critics inhabit to litter guano all over the band’s 1988 studio/live LP Rattle and Hum, the soundtrack of a rockumentary released the same year.

To cite just two of the album’s critics, The Village Voice’s Tom Carson called Rattle and Hum an “awful record” by “almost any rock-and-roll fan’s standard.” He went on to add that the LP’s sound wasn’t “attributable to pretensions so much as to monumental know-nothingism.” Meanwhile, David Browne of the New York Daily News said Rattle and Hum “just prattles and numbs.” The phrases “sincere egomania” and “the worst album by a major band in years” were also bandied about.

Rattle and Hum’s chief problem is it’s a dog’s breakfast, and lacks even the cheap glue to keep a model airplane in one piece. But I simply can’t bring myself to hate it—it includes some of my favorite U2 songs. Unfortunately they all happen to be the LP’s studio cuts, rather than the ones recorded during U2’s The Joshua Tree tour of the US.

To begin with the absolute low points, the only thing to be said for the forty-three second snippet of Jimi Hendrix’s “The Star Spangled Banner” is U2 had the common decency not to play the whole thing. As for the thirty-eight second snippet from “Freedom for My People” by Harlem street duo Sterling Magee and Adam Gussow, I guess you had to be there. And the live version of Bob Dylan’s “All Along the Watchtower” is ham-fisted, and haven’t we heard the song seven million times too often already?

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TVD Radar: The Cannonball Adderley Quintet, Live in Montreal May 1975 in stores now

VIA PRESS RELEASE | The great Julian “Cannonball” Adderley rose to prominence in the hard-bop era of the 1950s and 1960s.

After a successful stint with Miles Davis’s sextet—including being featured on the seminal Davis records Milestones and Kind of Blue—Adderley formed his own quintet with brother Nat on trumpet and cornet, and soon became the driving force behind the soul-jazz movement of the ‘60s and ‘70s. No one would have guessed that the 46-year-old DownBeat Jazz Hall of Famer was in the last few months of his life when he stepped on stage at Montreal’s In Concert Club on May 3, 1975.

And nothing about the performance suggests that the sax legend was anything but at the top of his game. The lineup for the quintet here is Cannonball Adderley (alto and soprano sax); Nat Adderley (trumpet); Michael Wolff (piano); Roy McCurdy (drums, percussion); and Walter Booker (bass). Out of print since its original 1977 release on Dobre Records, this title now makes its official CD debut alongside a 180-gram vinyl repressing and download.

The packages will feature liner notes by music historian Cary Ginell who wrote the book Walk Tall: The Music and Life of Cannonball Adderley. The notes include interviews with quintet members Michael Wolff and Roy McCurdy. Pre-order on Bandcamp.

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Graded on a Curve: Samuel Prody,
Samuel Prody

As detailed in the booklet accompanying the Guerssen label’s new reissue of the sole LP by Samuel Prody, there’s an eventful backstory that precedes the formation of this obscure British band. Rather than recount it all here, it suffices to mention that this four-piece outfit grew out of Giant, a gigging group that briefly featured Viv Prince of the Pretty Things on drums. The sturdiness of Samuel Prody’s material makes this edition, remastered and officially rereleased for the first time, a worthwhile acquisition for hard rock fans. The set is available now on vinyl and compact disc.

Samuel Prody (altered from Samuel Purdy) featured Tony Savva (guitar, bass, lead vocals), John Boswell (drums, vocals), Derek “Morty” Smallcombe (lead guitar, vocals), and Stephen Day (bass, vocals). Once these cats came together, they recorded an LP’s worth of material that was released eponymously only in Germany in 1971, and unbeknownst to the band until much later, after the album had been reissued a few times; originals have sold in the ballpark of $500.

Engineered by noted hard rock specialist Roy Thomas Baker, the contents of Samuel Prody are, when the band gets down to business, legitimately heavy, and the instrumentation is consistently sharp. The band travels down a handful of psychedelic avenues in the record’s less heavy moments, and to largely non-detrimental results, but neither are they particularly adept at getting expansive. But it should be added that all seven tracks on this LP do find the band kicking it into heavy gear, though in opener “Who Will Buy” it does take a little while.

Had they chosen to not swerve from (and lean into) the path of heaviness, my assumption is this LP would be held in even higher retrospective esteem. Sometimes compared to Black Sabbath, Samuel Prody’s strong suit is more accurately a hard edged boogie (see the manic “Scat’s Shuffle”). Importantly, they groove but never choogle. There are a few spots reminiscent of first album Sabbath, but it’s necessary to differentiate that Samuel Prody don’t cultivate a dark, downer vibe.

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Graded on a Curve:
Raspberries,
Starting Over

Remembering Eric Carmen.Ed.

It’s a miracle that anyone survives adolescence. And I’m not talking about drugs or driving 110 mph while on drugs or any of the other healthy activities normal teens engage in—no, I’m talking about potentially lethal sperm build-up. Speaking just for myself, I was a lusus naturae of unsated lust, and often found myself leering at vacuum cleaners. One day I discovered that my skull was producing an oily discharge, and it took a physician to inform me that I was literally secreting sperm through the follicles of my hair.

It was a lonely and demeaning condition, but fortunately I had the Raspberries. They were more than just the greatest power pop band ever—they were the Masters and Johnson of Rock. No other rock band has ever given more eloquent voice to the victims of adolescent hormonal overload. In such ardent and urgent songs as “Go All the Way,” “Tonight,” “I Wanna Be With You,” “Ecstasy,” and “Let’s Pretend,” The Raspberries spoke to the only subject that really mattered to poon-crazed teens like me—namely getting some, and preferably tonight.

The Raspberries formed in Cleveland, Ohio in 1970, the year after the Cuyahoga River caught fire: an ill omen in hindsight, for despite their polished Beatles and Mod-influenced sound, irresistible melodies, arresting guitar hooks, and heavenly vocal harmonies, the Raspberries never scored a No. 1 hit on the singles or album charts before breaking up in 1975. The band’s first single, 1972’s brilliant “Go All the Way,” rose all the way to the No. 5 spot. They were never to come as close to the top of the pops again.

While the Raspberries’ first three albums (1972’s Raspberries and Fresh, and 1973’s Side 3) contain all of the odes to teen lust the band is most famous for, I have always preferred their farewell LP, 1974’s Starting Over. Disappointing sales of Side 3 led to the replacement of bassist Dave Smalley and drummer Jim Bonfanti by Scott McCarl and Michael McBride, respectively, and McBride’s Keith Moon-like drumming in particular lent the band a much harder kick. Starting Over also has a slightly—and I do mean slightly—scruffier sound than its predecessors, and the combination of McBride’s drum pummel and less glossy production gives the album a sound that is more power than pop.

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TVD Radar: Hip-Hop
Is History
from Ahmir “Questlove” Thompson
in stores 6/11

VIA PRESS RELEASE | Academy Award-winning director, Grammy Award-winning musician, and New York Times Bestselling author Ahmir “Questlove” Thompson shares details on his brand new landmark book Hip-Hop Is History. Set to debut on June 11th, via the author’s own AUWA Books imprint, this is a book only Questlove could have written: a perceptive and personal reflection on the first half-century of hip-hop.

In the incredible new book, written with Ben Greenman, Questlove skillfully traces the creative and cultural forces that made and shaped hip-hop, highlighting both the forgotten but influential gems and the undeniable chart-topping hits—and weaves it all together with the stories no one else knows. It is at once an intimate, sharply observed story of a cultural revolution and a sweeping, grand theory of the evolution of the great artistic movement of our time. And Questlove, of course, approaches it with not only the encyclopedic fluency and passion of an obsessive fan but also the expertise and originality of an innovative participant.

When hip-hop first emerged in the 1970s, it wasn’t expected to become the cultural force it is today. But for a young Black kid growing up in a musical family in Philadelphia, it was everything. He stayed up late to hear the newest songs on the radio. He saved his money to buy vinyl as soon as it landed. He even started to try to make his own songs. That kid was Questlove, and decades later, he is a six-time Grammy Award-winning musician, an Academy Award-winning filmmaker, a New York Times bestselling author, a producer, an entrepreneur, a cofounder of one of hip-hop’s defining acts (the Roots), and the genre’s unofficial in-house historian.

Hip-hop is history, and also his history.
PHOTO: DANIEL DORSA

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Graded on a Curve: Hüsker Dü,
New Day Rising

Celebrating Greg Norton in advance of his 65th birthday tomorrow.Ed.

Hard and fast rules so let’s dispense with the long instrumental intro and get right down to the nitty-gritty; on 1985’s New Day Rising, St. Paul, Minnesota power trio Hüsker Dü permanently set themselves apart from the hardcore pack by leavening the genre’s speed freak aesthetic with increasing dollops of real melody.

The results are still bracing, but New Day Rising is friendlier than most hardcore, and more welcoming too. Parts of it are even nice, nice in the way that the iconic album cover (two dogs, one beautiful body of water, a sunrise) is nice.

Most of the “nice” comes to us thanks to drummer/vocalist Grant Hart, who was the Jekyll to Bob Mould’s Hyde in what amounted to a schizophrenic division of band labor. Hart provided the melody, sweetness and light. Bob Mould provided the buzz saw guitar and angst; he may not have doing the fashionable by spitting bile at Reagan’s America, but his personal life sounded a hot mess. As for Greg Norton, he had a very cool mustache. And he played bass guitar.

New Day Rising is a sonic world away from Hüsker Dü’s 1982 debut Land Speed Record, a landmark in speedcore that more than lives up to its bragging title. But like their SST label mates the Minutemen and Meat Puppets, Hüsker Dü soon chafed against the formal constraints of hardcore.

Unlike said bands, however, Hüsker Dü didn’t abandon hardcore altogether. Instead they set themselves to the business of expanding hardcore’s horizons by employing catchy riffs and hooks, and the results are to be heard on such sweet (and bordering on silly) Hart-penned cuts as “Books About UFOs,” which features a piano of all things. Betcha Ian MacKaye didn’t see that one coming.

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Graded on a Curve:
Nino Gvilia,
Nicole / Overwhelmed
by the Unexplained

Fresh out from the always interesting Hive Mind Records is Nicole / Overwhelmed by the Unexplained, which places two EPs on one vinyl disc from Nino Gvilia, an artist described by the label as a singer-songwriter born in Poti near Lake Paliastomi in the country of Georgia. But in reality, Nino Gvilia is the wholly fictional construct of Italian vocalist, sound artist and performance artist giulia deval, her creation intended to inspire contemplation “on the place of the songwriter in times of global crisis.” The record succeeds in its thematic ambitions and most importantly, it sounds good, too.

For this pairing of EPs as an album, Nino Gvilia is responsible for songs, lyrics, vocals, toy guitar, harmonium, and field recordings (with an assumption made that the credited Gvilia is giulia deval). Alongside are her collaborators Zevi Bordovach (arrangements, synth, Hammond, harmonium, vocals), Pietro Caramelli (arrangements, electric guitar, electronics, vocals), Giulia Pecora (violin), and Clarissa Marino (cello). There is also a choir for one track, the excellent “Dirty is just what has boundaries,” that features Bordovach, Caramelli, Amos Cappuccio, Erika Sofia Sollo, Giulia Beccaria, and Matteo Martino.

Conceptual recordings such as this one ultimately sink or swim on how substantial they are as a listening experience; this isn’t to discount a presentation (in this case a fabrication) that’s based in ideas, instead, it’s simply a statement on what should be obvious: if the sounds hold up, then the point(s) being made be given deeper consideration.

Thankfully, the songs and musicianship are sturdy across Nicole / Overwhelmed by the Unexplained, in addition to stylistic range that’s sharpened by a singular, if fictitious, persona (and the very real artist behind it). Opening track “Nicole” is moodily intense with strong singing (up close conversational then boldly soaring) and with its noirish trip-hop air, it’s a decidedly ’90s proposition.

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TVD Radar: Independent Label Market returns to Coal Drops Yard, 5/11

VIA PRESS RELEASE | Independent Label Market (ILM) is delighted to announce its flagship London event at Coal Drops Yard, King’s Cross, will return Saturday, May 11th.

The event showcases the vibrant and enduring community of independent UK labels, including firm favourites such as 4AD, Because, Big Dada, Brainfeeder, Chess Club, Chrysalis, Dead Oceans, Dirty Hit, Fire, Jagjaguwar, Late Night Tales, Matador, Marathon, Ninja Tune, Secretly Canadian, Third Man and many others. It will feature a curated selection of vinyl rarities, test pressings, extended back catalogues, signed merchandise, and advance copies.

Also making an appearance at ILM this Spring is The Craft Makers Corner, bringing together talented artists and craft makers including Babak Ganjei, Donna Harle, This Is Fun Isn’t It, Hand Jazz, Kam Creates, Nicole O’Hara, Sri Mckinnon and East London Printmakers

Of course, Independent Label Market wouldn’t be complete without its favourite drinking partner at the helm, London Brewers’ Market representing the thriving Artisan Beer Scene with a lineup of London’s finest brewers including Five Points, Forest Road, Two Tribes and Gan Yam.

Adding further colour to the Spring Market is the ILM Live Stage, as well as artist and label DJ sets throughout the day on a heavyweight soundsystem courtesy of Audio Gold—London’s premier second hand Hi fi retailer specialising in unique equipment from wind-up gramophones to Wi-fi radios.

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TVD Radar: Stars, Set Yourself On Fire 20th anniversary reissue in stores 7/24

VIA PRESS RELEASE | In celebration of the 20th Anniversary of their breakthrough album Set Yourself On Fire (SYOF, 2004 via Arts & Crafts), Montreal’s Stars announce they will embark on a select North American tour this fall and release a special 20th Anniversary vinyl reissue on Arts & Crafts arriving in July, which will feature digital bonus tracks such as “Rollerskate” and “Petit Mort” not widely available on other releases.

The album has been lovingly reimagined on 140g opaque red vinyl, housed in a special die cut jacket with printed inner sleeve, 12″ x 24″ pinup poster, and a temporary tattoo featuring the iconic flame design. New liner notes written by album producer Tom McFall also accompany the re-issue. It is available for pre-order HERE. Signed version available via Stars Patreon HERE.

Stars’ Set Yourself On Fire 20th Anniversary live dates begin September 18 in Asbury Park, New Jersey, ahead of a two-night stand at Brooklyn, NY’s Music Hall of Williamsburg. The tour will then work its way to three Canadian dates in Montreal, Ottawa, and Toronto; after a two-week break, the dates will resume south of the border in California and traverse throughout the west, including a stop in Vancouver.

Artists of effortlessly accessible complication, on Set Yourself On Fire, Stars took our worst fears—both personal and global—and slayed the anxieties with their perfect pop music. Widely lauded as amongst their most ambitious, accomplished, and affecting works of their storied existence, Stars’ Set Yourself On Fire (20th Anniversary Edition) carries the torch of the magical songs that have set so many hearts alight.

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Graded on a Curve:
Blur, Parklife

Celebrating Graham Coxon in advance of his birthday tomorrow.
Ed.

Today on the Wayback Machine… we return to the Battle of Britpop! In last week’s corner at The Vinyl District: Northern England standard-bearer and contender for the crown, Oasis’ (What’s the Story) Morning Glory?! In today’s corner: Southern England’s pride and glory, Blur’s Parklife! Let the fight begin!

I should state from the outset that this is a battle involving different weight classes. The heavyweight Mancunians in Oasis opted for the knock out; (What’s the Story) is a slow but methodical series of big, telegraphed hooks to the pleasure center of your brain. Blur, on the other hand, is a lightweight and a dancer, and Parklife comes at you like a flurry of lightning quick blows to the thinking part of your cerebral cortex.

While Oasis opted for monolithic, Blur went the eclectic route; stylistically they’re all over the place. And they’re all over the place for a reason; they’re making a statement on the richness and variety of London itself. Samuel Johnson once said, “If you’re tired of London, you’re tired of life,” and Damon Albarn is clearly not tired of London or the multiplicity of genres and influences that have long made it one of the world capitals of rock music.

Unlike Noel Gallagher, who took his cue from Seinfeld and wrote a whole slew of songs about nothing, Blur’s Damon Albarn is a social satirist and details man. From the polymorphous perversity of “Girls and Boys” to the closely observed details of the title track to the working class desperation of the very punk “Bank Holiday” to the industrial dehumanization of “Trouble in the Message Centre,” Albarn is concerned with what it means to be young and English.

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Graded on a Curve: Plainsong,
In Search of Amelia Earhart

The ghost of Amelia Earhart haunts us. That’s what happens when you’re history’s greatest vanishing act, and the most famous face to ever appear on a milk carton. When Earhart and navigator Frank Noonan took off from an airfield in Lae, New Guinea on July 2, 1937 everyone expected them to come back down, on tiny Howland Island to be precise. Instead they disappeared forever into the realms of myth, legend, obsession and theory—the quarry of sleuths, both amateur and professional, many willing to spend fortunes in her pursuit.

Did her plane, having run out of fuel, land in the vastness of the Pacific Ocean? Was she captured, and die at the hands of, the Japanese Army? Was she devoured, as some say, by coconut crabs, a lonely castaway on a desert island? Or did she end up on another island? Or is she up there still, the wings of her silver twin-engine Lockheed 10-E Electra sending phantom refractions from the rising sun, eternally searching for that final landing strip?

It surprises me how few songs have been written about Earhart’s mysterious fate. The best of them are the Handsome Family’s “Amelia Earhart vs. The Dancing Bear” from their 1996 release Milk and Scissors, Joni Mitchell’s “Amelia” from her 1976 album Hejira, and “Amelia Earhart’s Last Flight,” which was written by topical songwriter Red River Dave McEnery in 1939 and has been covered by the likes of Kinky Friedman, Ronnie Lane, the Greenbriar Boys, and the British country-rock band Plainsong, whose members of note were vocalist and guitarist Iain Matthew (a founding member of Fairport Convention and later of Matthews Southern Comfort) and guitarist and vocalist Andy Roberts, a Liverpudlian and former member of Everyone.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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