PHOTO: DANNY CLINCH | A 2020 stroke never slowed the creativity of Lucinda Williams. Rather, it could be argued it has ignited her to do more than before, issuing a new album in last year’s Stories from a Rock n Roll Heart, performing a series of live-streamed concerts covering favorite artists that resulted in a half dozen more releases since 2021, writing a memoir in Don’t Tell Anyone the Secrets I Told You, also out last year, and near constant touring since she returned to the stage three years ago.
Her current outing with her solid band brings one of two different shows—a more conventional concert prioritizing Rock n Roll Heart amid her classics, the other a continuation of her more strictly autobiographical Don’t Tell Anyone the Secrets tour.
It was the latter that played the Lincoln Theatre before a hushed, grateful audience experiencing essentially the same as the book-based show she gave at nearby Tyson’s Corner, VA a year ago, that mixes reminiscences with songs, illustrated with home movie type video accompaniment.
In a way, it’s a perfect format for any artist with a long career, telling her story of musical development chronologically through tunes that influenced her before touching on early compositions, career highlights, and a couple of recent tunes that reflect what she’s learned.
With her father a poet and her mother a music major, Williams seemed destined to become a Southern-bred singer-songwriter. To hear her tell it though, a major early musical inspiration was a street blues singer and preacher in Macon she saw when she was five and who she enshrined in the song, “Blind Pearly Brown.”
VIA PRESS RELEASE | “I give something extra every time I do Montreux Jazz. In ’23 it was deep cuts like ‘Mass Production,’ ‘Endless Sea,’ ‘Five Foot One,’ and a hell of a lot of sweat.” —Iggy Pop
On January 24, 2025 Iggy Pop will release Live at Montreux Jazz Festival 2023 via earMUSIC. The album is an essential Iggy Pop live album, celebrating a career, a catalog and a performer that only gathers more raw power throughout the years.
On July 6, 2023 Iggy Pop made a triumphant return to the Montreux Jazz Festival. It marked Iggy’s third appearance at the festival and his performance was recorded and filmed by the Montreux Jazz Festival team. Backed by a seven-piece band he thrilled a filled-to-capacity Stravinski Auditorium crowd with a career-spanning set that including tracks from his time with The Stooges, his Idiot, Lust for Life, and New Values albums, as well as songs off his most recent release Every Loser.
Iggy Pop Live at Montreux Jazz Festival 2023 will be released as a Blu-ray+CD digipak, 2 LP gatefold, and digital download on January 24, 2025—pre-order the album HERE. With the album’s announcement earlier this week, Iggy also released the first single, “Five Foot One (Live at Montreux Jazz Festival 2023).”
Celebrating Ted Bluechel Jr. on his 82nd birthday. —Ed.
The Association didn’t exactly win friends and influence hippies with their square-john antics in the mid- to late sixties; they may have been the first band to perform at the 1967 Monterey Pop Festival, but most of your smirking counter-culture types considered them about as authentic as a cheap plastic peace symbol.
But hey–as that great philosopher Huey Lewis pointed out it’s hip to be square, and all of your REAL swinging girls and boys know The Association are the Nazz. So what if they flunked the Acid Test and would have been more at home at Tricia Nixon’s wedding than a Human Be-In? The Association rose above it all, producing a rapturous dream pop that Tricky Dick himself might have tapped a toe to.
And you can hear The Association in all their vocal glory on the 2018’s Anthology: Just the Right Sound. Its 51 songs are a definite case of overkill–and I’ve docked it a half-grade accordingly–but it’s worth the purchase price (and more!) if you want to hear not only the songs that melted your heart but such berserker numbers as “Pandora’s Golden Heebie Jeebies,” to say nothing of a couple of cuts off 1972’s justifiably neglected Waterbeds in Trinidad!
Just about everybody knows their big ones. “Windy” is a sunshine pop classic about a girl with stormy eyes; its opening guitar riff and superlush vocals are for the ages, and I die a little every time I hear that flute. And then there’s the motorvatin’ “Along Came Mary,” with its handclaps and badass (by Association standards) vocals. And who could forget the moon-eyed “Cherish,” which makes the perfect mate for the lovely “Never My Love,” both of which say I’m going to love you forever by means of those perfectly pureed vocals that were The Association’s bread and butter.
Acid rock comes in two flavors—good trip and bad trip. The former evokes images of Woodstock, big day-glo flowers, beautiful naked people doing blissful, ecstatic dances in the wonders of nature. The latter evokes images of Altamont and the flowers of evil. As for the beautiful naked people they’re the Manson Family, and they’ve come to your house to do the devil’s business.
Austin, Texas’ The Black Angels play bad trip rock. They’re the house band at 10050 Cielo Drive, the real Death Valley ‘69, and they are not groovy. Forget the Grateful Dead’s sunny “China Cat Sunflower.” The Black Angels sound features indecipherable and incantory lyrics buried alive in a fuzz and feedback-drenched drone underlaid by a drum pummel that will not make beautiful naked people want to do blissful, ecstastic dances. It will make them want to barricade themselves in a closet somewhere.
This is drug deal gone fatally south music, the sort of thing you’d expect from a band that got their name from a Velvet Underground song and included Edvard Munch’s “Illness, insanity, and death are the black angels that kept watch over my cradle and accompanied me all my life” on the inner jacket of their 2006 debut LP Passover. As for their 2008 follow-up Directions to See a Ghost, it surprises me not a whit that the History Channel saw fit to include some of its songs on their 2009 documentary Manson.
But here’s the thing about acid rock bad trips—some people love them. Especially when a band like The Black Angels are handing out the brown acid. Guitars, lots of them. Effects pedals out the wazoo. All producing a chaotic, wall-of-sound drone drenched in reverb, feedback, rogue electric sitar, and ghostly vocals, all nailed to the world of the living by the drum bash of one Stephanie Bailey, modern psychedelia’s answer to Maureen Tucker.
Bloomington, IN | Unbound – Vinyl revival: Why vinyl records are here to stay. In this episode of Unbound, we dive into the world of vinyl records and explore the surprising resurgence of physical media in an increasingly digital world. Vinyl has made a comeback in a big way, with sales reaching levels not seen since the 1980s, and we’re here to unpack why this analog format continues to captivate new generations of music lovers. We talk to collectors, industry insiders, and local record stores about what makes vinyl so special—its warm sound, the tangible connection to music, and the ritual of flipping through records. …In this episode, we discuss how vinyl has evolved, the rise of niche collectors, and why owning a physical copy of music is more meaningful than ever. Whether you’re a lifelong vinyl enthusiast or a curious newcomer, you’ll come away with a renewed appreciation for the art of vinyl records.
Dallas, TX | Dallas record store chain Josey Records spins new location in Garland: Dallas music maker Josey Records has extended its reach east: The record store chain, whose empire includes one of the largest single independent record stores in the U.S., has opened a location in Garland, at 1005 Northwest Hwy., at the intersection of Centerville Road, where it’s selling its trademark assortment of vinyl records, CDs, cassettes, turntables, music posters, new releases, and music accessories. This is the sixth location and the third in the Dallas area, joining the original in Farmers Branch which owners Waric Cameron and Luke Sardello opened in November 2014. They’ve since opened locations in Plano, Tulsa, Kansas City, and Vidalia, Missouri. The original location is a giant place with 16,000 square feet devoted to vinyl, 45s, CDs, and turntables.
Bristol, UK | Beloved record store reopens after two-year closure: A beloved record store that specialises in local music has reopened, two years after shutting its doors. Chris Farrell who runs Idle Hands in Bristol, announced in 2022 that his shop on City Road would have to close due to pressures around Covid, Brexit and the cost of living crisis. After operating out of a storage unit since the closure, Mr Farrell has now opened in a new location on Lower Park Row, near the Christmas Steps. He said he feels “really lucky” and is “very grateful” to see that people were excited for its reopening. “I had a couple of false starts and properties that fell through, it was never my intention to close for two years, but that’s what happened,” he said. “A month ago I was offered this new location, I feel quite lucky, it’s a nice way to round off 2024.”
Cincinnati, OH | Alien Records becomes Cincinnati’s latest music destination: The new Over-the-Rhine record shop intends to be a music enthusiast’s pastime paradise. Timothy Henninger’s predilection with records began as a child when he bought Michael Jackson’s Thriller LP from a Thriftway in Western Hills. By high school, art and record stores were his sanctuaries. With enthusiasm, he recollects how the record players at his Catholic school had a quarter taped to the tone arm for weight, and how when he taught art, he used the same model in his classroom and at the gym. (Believe it or not, the self-proclaimed gym rat toted a portable record player and LPs to workouts instead of a Spotify playlist.) Earlier this month, Henninger bid farewell to coworkers at Hard Rock Casino to open a record store. After a successful soft launch on November 8, he and his partner, Aaron, officially opened Alien Records at 1207 Vine Street in Over-the-Rhine.
We’ve closed TVD’s HQ for the Thanksgiving holiday. While we’re away, why not fire up our Record Store Locator app and visit one of your local indie record stores?
Oh, when you’re smilin’ / When you’re smilin’ / The whole world smiles with you, baby / Yes, when you’re laughin’ / Oh, when you’re laughin’ / The sun comes shinin’ through
But when you’re cryin’ / You bring on the rain / So stop your sighin’, baby / And be happy again
Yes, and keep on smilin’ / Keep on smilin’, baby / And the whole world smiles with you
I love how a song can absolutely transport me to a moment in time. I was driving the other day and The Dream Syndicate came on the radio. Hearing Steve Wynn’s voice went straight to my veins. It’s wasn’t long before I was digging through crates for my copy of The Days Of Wine and Roses.
I hadn’t heard “When You Smile” in many, many moons. It was a like the chords opened up a little cubby in my mind. Out popped a girl. A crush from when the album came out in 1982.
She was a rich girl from the upper east side. Her dad’s sprawling Park Avenue apartment. I could see her smile as she gave me a light kiss and pushed me away.
VIA PRESS RELEASE | Sub Pop is proud to share the news that we are the new home of The Gits, the ferocious Seattle punk band fronted by the late Mia Zapata. Their entire discography—Frenching the Bully (1992), Enter: The Conquering Chicken (1994), Kings & Queens (1996), and Seafish Louisville (2000)—features newly designed album cover art by Sub Pop’s VP of Creative Jeff Kleinsmith, and have all been remastered by legendary producer Jack Endino. They are available to hear NOW on all DSPs from Sub Pop.
On January 31, 2025, a physical reissue of Frenching the Bully will also be released, and is available to preorder now from Sub Pop Mega Mart in North America, MegaMart2 in the EU/UK, and independent retailers worldwide. Right now, you can watch The Gits’ official video for Frenching the Bully single “Second Skin,” directed by Doug Pray. The live visual features original film footage courtesy of DC9 and Pray from his 1993 documentary, Hype!. Read Evelyn McDonnell’s interview with The Gits’ band members Andy Kessler and Matt Dresdner in The New York Times (see November 12th “Critics Notebook”).
The Gits members Andy Kessler, Matt Dresdner, and Steve Moriarity offer this on the reissues: “It’s been more than thirty-one years since The Gits played our last show. We’re rereleasing The Gits catalog now for the people who loved our music, and hopefully others who have yet to find it. And we’re doing this now for the love of our dear friend, our co-conspirator, our singer, Mia Zapata.”
Sub Pop founder and president Jonathan Poneman says of the signing, “The Gits first knocked me out with their very unadorned, unmacho abandon. Their songs and spirit still kick, inspiring a triumphal racket.”
VIA PRESS RELEASE | Bob Geldof, Midge Ure, and Trevor Horn announce details of the forthcoming Band Aid Compilation, a brand new 2024 Ultimate Mix and accompanying video release commemorating 40 years of Band Aid.
The latest incarnation of “Do They Know It’s Christmas?” is set to be premiered simultaneously across UK breakfast time radio on November 25, 2024, the 40th anniversary of the recording of the original song. It will be available to stream immediately on all digital platforms. “Do They Know It’s Christmas?—2024 Ultimate Mix” is available to buy now digitally and physically on the Band Aid Compilation 1CD and 12” vinyl and will be released on November 29. Buy here.
“Do They Know It’s Christmas?” was recorded on three separate occasions, over three separate generations: Band Aid (1984), Band Aid 20 (2004), and Band Aid 30 (2014). What began life as a humble Christmas pop song launched the greatest series of events in pop history. “Do They Know It’s Christmas? ultimately corralled the political structures of its time to its own focused ends by assembling a roll call of talent that, in effect, describes the arc of British rock ‘n’ roll over these past 40 years. In celebration of this monumental “instrument of change,” producer Trevor Horn has taken these recordings and, through extraordinary music production techniques, blended all the voices of those separate generations into one seamless whole.
Unveiled on November 25, on “Band Aid – 2024 Ultimate Mix,” you will hear a young Sting sing alongside a young Ed Sheeran. A young Boy George, with a young Sam Smith. A young George Michael, beside a young Harry Styles. The young Bono with an older Bono, Chris Martin with Guy Garvey, the Sugababes and Bananarama, Seal and Sinead O’Connor, Rita Ora and Robbie Williams, Kool and the Gang and Underworld. The voices sing on against the Band Aid house band of Paul McCartney, Sting, John Taylor (bass), Phil Collins, Roger Taylor, Danny Goffey (drums), Thom Yorke (piano), Paul Weller, Damon Albarn, Midge Ure, Johnny Greenwood, Gary Kemp, and Justin Hawkins (guitar).
Celebrating Tina Weymouth on her 74th birthday. —Ed.
How is it that sometimes, not always but just sometimes, the LP you swore your undying love for and allegiance to back in the day fails, after not having heard it for a long time, to set you on fire? It makes you feel like a turncoat.
Such is the case with Talking Heads’ seminal 1980 LP, Remain in Light. When it came out, I couldn’t find enough good things to say about it; it was flawless, an unparalleled work of synthetic Afrocentric genius, and I would have sworn under oath to the 1981 hearings of the U.S. Senate Commission on Un-American Influences on Rock’n’Roll to that effect. Now it fails to move me as it once did, and I’m left feeling like Benedict Arnold—a traitor to an album I once would have set off firecrackers in my pants for.
On Remain in Light, Talking Heads and co-conspirator Brian Eno eschewed the band’s heretofore twitchy new wave paranoia in favor of a liquid African-based sound that incorporated Byrne’s new stream-of-consciousness approach to writing lyrics, and it worked like gangbusters. Everyone I knew loved it and played it continuously. The hypnotic beats, the great percussion and insane guitars, the syncopated layers of backing vocalists, and David Byrne’s new and more ecstatic vocal delivery all contributed, as did Brian Eno’s far from negligible vision and musical and production skills, to create an album that was truly contagious.
On the LP, Byrne abandoned (for the most part) his characteristic deadpan irony for a potpourri of disparate influences: African rhythms, the fire and brimstone cadences of holy roller preachers, the studied speaking delivery of Nixon underling John Dean’s Watergate testimony (seriously!), and even the new-fangled rap of Kurtis Blow (seriously again!) Throw in a novel free-associative approach to the lyrics and what the Heads ended up with was an album that was radically different from their previous LP, 1979’s excellent Fear of Music.
Technology’s growth in the last decade has been astounding. I don’t have to tell you how AI has just begun to impact our lives, and we all grit our teeth peeking to witness its evolution. But, through it all, there’s a timeless beauty to the still photograph. Even our 21st century blogs and social media are, in many ways, simply a digital photo book for us to flip through. Humans love looking at pictures and—as with vinyl records—we enjoy that experience even more when it is coupled with a tactile element: the paper, the saturated color, the feel, the smell, and, of course, the artistry behind the lens.
Eilon Paz isn’t so much a record collector, he’s more a collector of record collectors. Paz is a photographer who noticed the uniqueness of record collectors, just as the new wave in vinyl popularity was taking hold. He took his profession and his passion and pointed his camera at record collectors and their collections. First on the web as a blog, his project became a well-regarded book titled, Dust & Grooves which was first published in 2014.
Now, Eilon has released Dust and Grooves, Vol. 2: Further Adventures in Record Collecting, and he’s also expanded his online presence and offerings where collectors swap tales of funding epic hunts through sweep coins casino payouts. Believe me when I say I did not realize the size and scope of the book until I held a copy in my hands. Eilon has outdone himself with a collection of photographs of collectors from around the globe, paired with interviews that describe their methodology and allow a reader into their thought process when it comes to vinyl.
Sometimes, it’s more fun to see someone else’s collection of something rather than have it yourself. In this way, the book and Eilon’s photographic journey is appealing to those outside of the record collecting world as well: it’s an opportunity to see the passion and care that these collectors dedicate to their libraries and the humanity intertwined within. Eilon loves a good record collection, but it’s the collectors themselves that really catch his interest.
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.
The Northern Soul Scene was more than just one of the most fascinating “underground” musical subcultures to emerge from the UK in the mid-1960s—it was the Great Upside Down.
The scene was centered in Northern England and the Midlands in clubs with names like The Twisted Wheel, Wigan Casino, Blackpool Mecca, and the Golden Torch, and attracted youth dressed to the nines in Mod garb (although that would change) whose idea of heaven was dancing all night (thanks to the heavy intake of dexamyl tablets, or “blues”) to black American soul singles, the faster and heavier the better.
But the entire scene was built on an odd twist. The kids doing the dancing—and the DJs who ruled the roost—weren’t dancing to the latest hits. They snubbed their noses (for the most part) at the latest smash hits bearing the Motown label—their tastes ran to the rare and the obscure, and the result was a playlist heavy with also-rans, the no-names of the American soul and R&B industry. It was a scene that sought out and revered hard-to-find singles by artists who hadn’t made it. It was a scene, in short, that celebrated failure.
As the authors of 2000’s Last Night a DJ Saved My Life: The History of the Disc Jockey noted, “Northern soul was the music made by hundreds of singers and bands who were copying the Detroit sound of Motown pop. Most of the records were complete failures in their own time and place… but in Northern England from the end of the 1960s through to its heyday in the middle 1970s, were exhumed and exalted.”
The Growth of Vinyl and the Impact of Independent Record Stores on Vinyl Sales: While many in our industry focus on streaming consumption and the billions of streams that occur weekly, there is another consumption format that has shown growth year after year for the last 18 years straight: vinyl album sales. In fact, vinyl album sales growth began long before streaming even emerged as a way to consume music. Since 2016, vinyl album sales have increased from 13.1 million to 49.6 million in 2023, a growth of nearly 300% over the last eight years. The total number of vinyl albums purchased since 2016 is 224.9 million. So which strata had the biggest impact over that time span, accounting for 45% of all vinyl sales and equaling more than 100 million sales total? That would be independent record stores.
FL | Record Store Day Black Friday: Where to go in SWFL. Record Store Day Black Friday is approaching quickly, and if you’re not looking for a new TV or a video game console, go to your local record store, as they will have exclusive deals to expand your record collection. The last Record Store Day was held on April 20 and as tradition follows, the next is on Black Friday. Southwest Florida record stores will be partaking. Stellar Records in Fort Myers has ordered exclusive titles and prepared countless quality used records, CDs and cassettes for sale. In addition to the Black Friday Record Store Day titles, they are offering 20% off used records, a limited-edition Stellar Records patch, gift card specials and a mystery prize pack raffle worth over $150. Stellar’s last Record Store Day had a large turnout. People gathered early in the morning and waited outside to get their favorite records.
Toronto, CA | Rhythm is Toronto’s newest venue, record shop and studio. The women-owned and operated space officially opened its doors earlier this month. Toronto has a new venue. Rhythm, located in the city’s downtown core, consists of two recording studios, a performance space and a retail shop featuring records plus electronic music merchandise. It also has an outdoor area for street fairs and other events. Rhythm currently posesses a limited-edition Xone92 mixer, allegedly the only one in Toronto, and is working on building a custom sound system. Owned and operated by women, Rhythm launched on November 4th and plans to host two parties per week in addition to educational programmes such as workshops on the music business, gear demos and networking mixers. The team said it can also offer A&R and strategy advice to budding artists as part of its focus on community building.
Buffalo, NY | Mack Luchey’s Spirit Still Lives on at Doris Records: The Buffalo fixture is more than a record store, it’s a family legacy. In contrast to the lake effect clouds darkening the Buffalo skies in the middle of the day, I recognized the radiant turquoise and yellow paint of my destination immediately. The record store stood out next to the rest of the empty, Rust Belt street called Mach Luchey Way, named after the old owner of the record store actually. Outside it was dark, windy, and by the time I left the store, snowing. But inside Doris Records, it is warm and cheerful. Behind layers of clothes, underwear, CDs, records, and other odd items and products for sale, Sean Carter oversees the store from behind the counter. 52-year-old Carter—whose nickname is Big Pete—is in charge of the store. But he’s not the owner, he insists. Carter claims that his late father, Mack Luchey, is still the owner to him and that his spirit still lives inside the store.
VIA PRESS RELEASE | This year marks the 60th anniversary of the legendary Fania Records: one of the most significant Latin labels in the world, musically and culturally, with an influence that continues to reverberate today. To honor the New York label’s enduring contributions—as well as its powerhouse roster of legendary artists—Craft Latino proudly presents a new compilation, Fania Records: The Latin Sound of New York (1964–1978).
Available January 24 on 2-LP and out now digitally, the compilation highlights 16 of the greatest salsa and Latin soul songs released on Fania and its subsidiaries by some of the label’s most beloved artists, including Willie Colón, Héctor Lavoe, Rubén Blades, Johnny Pacheco, Ray Barretto, Celia Cruz, Fania All Stars, Joe Bataan, Eddie Palmieri, Cheo Feliciano, Pete Rodriguez, Joe Cuba, Ismael Rivera, Richie Ray and Bobby Cruz. The vinyl edition also includes archival images and all-new in-depth liner notes in English and Spanish by the New York–based music historian, author, artist, and activist Aurora Flores Hostos. This compilation is not only a fantastic tribute but an essential introduction to Fania for new collectors and fans of classic salsa and Latin music.
This special release rounds out an extensive, year-long celebration of Fania Records, which has included more than a dozen remastered 180-gram vinyl reissues, merch, and over two dozen remastered digital albums, many of which debuted in hi-res audio.
The legacy of Fania Records is just as meaningful to Latin music as Stax and Motown are to soul or Prestige and Blue Note are to jazz. From establishing itself as the definitive home for Latin big band, Afro-Cuban jazz, boogaloo and Latin soul, among other styles, to pioneering salsa music and popularizing it around the globe, Fania—and the immeasurable talent on its roster—illuminates a powerful American immigrant story that is as timely today as when the label launched.
VIA PRESS RELEASE | In Genesis’ incredible body of work, The Lamb Lies Down On Broadway is a landmark record. Originally released on 22 November 1974 (50 years ago this week), at the pinnacle of their early success, it came at a pivotal point in Genesis’ history. It is rated as one of the greatest albums of its era and one of the most influential progressive rock albums of all time.
The Lamb Lies Down On Broadway 50th Anniversary Super Deluxe Edition is the album’s definitive compendium, following the arc of the album’s creation and tour. With input from all of the band members involved in the record—Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett, and Mike Rutherford—it comes in 5LP+Blu Ray Audio, 4CD+Blu Ray Audio and Digital (including Dolby ATMOS) formats, all providing a deep dive into the music and visual elements around this album and includes:
The original album mix, remastered at Abbey Road Studios by Miles Showell from the 1974 analogue tapes
A Blu-ray audio disc includes the remastered 96kHz/24-bit high resolution audio and Dolby ATMOS mixes of the studio album done by Bob Mackenzie at Real World Studios under the supervision of Peter Gabriel and Tony Banks
The Lamb Lies Down On Broadway Live At The Shrine Auditorium from January 24, 1975. It is remastered and includes two encore tracks “Watcher of the Skies” and “The Musical Box.” This is the first time the full live show, including the encore tracks, has been released in its entirety
Three never-before-released demos from the legendary Headley Grange Session, included as part of a digital download card with the full audio from the set