Oakland, CA’s Lunchbox has been at it for almost 30 years, a long time for a band to stick together; the outfit’s sturdy foundation is indie pop power couple Donna McKean and Tim Brown as they welcome assorted helpers. Pop and Circumstance is their latest full-length, released by Slumberland on LP, CD, and digital May 10, and the title is apropos. Bright with horns and keyboards and loaded with jangle and a bit of fuzz, the album’s catchy rippers draw from bubblegum and mod and the inextinguishable spirit of C86. In short, it’s a grand time.
As part of the 1990s indie pop wave, Lunchbox was prolific with a batch of singles across the decade’s second half, plus an eponymous full-length debut in ’96 and a follow-up The Magic of Sound in ’99. Progress continued in the new century but at a slower pace. That Pop and Circumstance is Lunchbox’s second LP for Slumberland extends a relationship borne from shared longevity and purpose.
Continuing to sharpen and broaden their sound, McKean and Brown dish their songs with youthful punk energy and a psych-pop edge that suggests the early days of Elephant 6. The jangle naturally recalls ’80s indie pop, but it’s delivered with panache that reinforces the ’60s root, a connection that is strengthened through the addition of trumpets and keys.
Opener “Dinner for Two” bursts forth with zest, suggesting that Rob Schneider, prior to recording Fun Trick Noisemaker, became smitten with the work of The Wrecking Crew, and in particular the more sunshiny Los Angeles-based productions that featured those session ringers. It’s over in under two minutes, rolling right into the hard-driving pogo-paced feedback-laced pop gush of “I’m Yours, You’re Mine”; this one spreads out to the “classic” single length of three and a half minutes.
Miami, FL | Indie Record Store Owners Speak Out About Direct-to-Consumer Vinyl Sales: Vinyl sales continue to rise, but independent record stores are being cut out of the deal by major artists and record labels. By the time Taylor Swift released her 11th album, The Tortured Poets Department, on April 19, most Swifties who wanted a physical copy had already preordered directly from Swift’s online store in February or during one of the several special-edition flash sales the pop star announced over social media in the lead-up. There was also a Target exclusive—a “phantom” clear vinyl, 24-page jacket, rare photos, a replica of Swift’s handwritten lyrics, and a bonus track—that was available to preorder online. But if you wanted to support your local independent record store with your preorder, you were out of luck. Shops were under an embargo that forbade them from the album until the official release date. The practice isn’t new, nor is it unique to Swift.
Newark, NJ | Rainbow Records: Behind the scenes of the Newark staple. At Rainbow Records, no two days are alike. Owner Melissa Forsythe and Chrissy Morgan, the store’s main employee, agree on this immediately. In fact, the only thing they can name as a set routine would be coming in and turning the lights on. “It really depends on if it’s a new release day, if we’ve got a lot of new records, if somebody comes in with a collection,” Forsythe said. “But otherwise we’re pricing records, pricing shirts.” It’s not just the employees who never know what the day might hold at the store. With collections of records, CDs, cassettes, posters, magazines, stickers, clothing and music equipment that are added to the store every day, shoppers never know what they might find (though they can get hints by keeping up with Rainbow Record’s social media, where new records are posted daily). From the record currently spinning in the back to the bins of $5 shirts out front, the store is constantly changing.
Pinellas Park, FL | Check out this Gem of Tampa if you like vinyl records or 8-tracks: If you’re a fan of vinyl records or even 8-tracks, make sure to visit this Gem of Tampa Bay. Sound Exchange is a record store that’s been around since the 80s, with locations in Tampa and Pinellas Park. “What brings an instant memory back more than hearing a few notes of a song? I mean, that transports you immediately,” Sound Exchange General Manager Erin Stoy said. Inside, customers can browse through new and used CDs, cassette tapes, 45’s, 8-tracks, DVDs, VHS tapes, comic books and even video games. “There’s still life and there’s still value in these items,” Stoy said. “There’s no reason for any of this stuff to go into a dump or anything like that.” Stoy also said records and music from the 1980s have been becoming more popular. “I really enjoy seeing the young people come into the store and get excited,” she said.
Montavilla, OR | New Montavilla Bar Replicant Wants to Become the Record Nerd’s Watering Hole: Replicant Bar and Bottle Shop will open alongside the new location of City Noise Records. Montavilla locals will soon be able to nurse a beer or a glass of Mexican wine while they shop for records. Replicant Bar and Bottle Shop will open alongside the new location of City Noise Records, with an extensive wine and beer selection, nonalcoholic cocktails, and listening stations for folks to drink and listen. City Noise Records owner Gianpiero Milani originally opened his punk-focused record store in November 2021, but he knew he wanted to find a larger space. While he and his partner, Lydia Crumbley, began shopping for new locations, he pitched the idea of opening a bar alongside the store, to make it more of a space for record nerds to connect. “He wanted to grow the community around [the record store],” Crumbley says. “We’re making it more of a hangout.”
Static-X and Sevendust and continue to crush North America on the third leg of their “Machine Killer” tour, hitting San Francisco’s The Midway on a Tuesday night that had the fans lining up down the street and around the corners in order to get those primo spots up front.
Dope dropped a compact 30-minute set that effectively warmed up the gathering crowd. And despite frontman Edsel Dope’s out loud pondering about ticket sales, the not-so-sold-out room was actually looking pretty full as the band closed with a cover of Dead or Alive’s ’80s one-hit wonder “You Spin Me Round (Like a Record).”
Sevendust took the stage like the pros they are, with plenty and swagger heaped on top of a stage full of talent. San Francisco has not always been the friendliest city for this band, and it’s rare that they even play here, so you can imagine the shock on the band members faces’ when literally the whole room was singing along to each and ever song.
Vocalist Lajon Witherspoon was extra generous, tossing out dozens of Clint Lowery and John Connolly’s guitar pics to the VIP ticketholders up front and ordered the lighting director to lay hard on the smoke machine as they closed the set with “Face to Face.” Let’s just say that Sevendust left the stage reconsidering their relationship with SF.
VIA PRESS RELEASE | Following a sold-out Record Store Day limited release on April 20, Iconic Artists Group today announces the May 31 global release of Nat King Cole Live at the Blue Note Chicago.
The week of August 28, 1953, riding high on the charts, acclaimed pianist and singer Nat King Cole took to the stage at the Blue Note Chicago, Chi-town’s first integrated venue in his beloved Bronzeville neighborhood. Nearly five years had passed since Cole’s last appearance at the club. Upon returning to the city, he graced the stage for these intimate performances at least twice a day for a week.
Seventy years later, those historic, never-before-heard performances by Chicago’s adopted son’s week-long residency have been unearthed and meticulously restored for this “time capsule” (Analog Planet). The album is available on 2LP with lacquers cut by Kevin Gray at Cohearent Audio, pressed-on audiophile-quality 180-gram vinyl at RTI, and housed in a Stoughton gatefold jacket, as well as 2CD, and digital formats.
The set boasts detailed notes about the meticulous restoration process from the original dual mono recordings by audio engineer and producer James Sáez, who spent weeks working on a sequence that followed Cole’s original set lists, including transitions, crowd participations, and introductions during the shows. The packaging also includes: an essay by acclaimed author and music critic Will Friedwald, a replica of the club’s original newsletter promoting Cole’s residency, and numerous rare archival photos of Cole in and around Chicago from the era.
Celebrating Bill Kreutzmann on his 78th birthday. —Ed.
The Grateful Dead isn’t a band–it’s a petri dish for fanatics. There are four kinds of people out there. 1. Those who don’t care anymore about the Grateful Dead than they do the waste disposal manager two towns over. 2. Those who hate Dead because their music sucks and their fans are filthy hippie burnouts. 3. Those who love the band but possess the critical faculties necessary to discern a good Dead album from one that blows. And 4. Those who own some 950 Grateful Dead bootlegs and can (and will, at length) tell you which one of those 950 Grateful Dead bootlegs includes the gnarliest version of “Me and My Uncle.”
Comparing the people in Category 3 to the ones in Category 4 is like comparing your average Episcopalian to a clay-eating, rattlesnake-handling Southern Baptist tent revival preacher. I myself belong in Category 3. But let’s pretend for a moment that I fall into Category 4, and prefer listening to Grateful Dead bootlegs to such unessential life activities as eating, sleeping, bathing, screwing and mastering rudimentary social skills. Which would be my choice of best live Grateful Dead recording?
First I would have to establish some completely arbitrary criteria. I have my peculiarities, as do you, and I stand by mine.
1. The concert must be top notch. This would appear to be self-evident, but the Dead were an erratic live act, which is only to be expected given they played some 2,300 concerts over the course of their 30-year existence.
2. The concert must have been recorded between 1971 and 1974, because the former don’t include many of my favorite songs and the latter tend to include material recorded after From the Mars Hotel, the last Dead album worth owning. Call me petty, but “King Solomon’s Marbles” makes me lose mine.
3. The concert cannot include a song longer than 20 minutes.
4. The concert must include four or more of the following: “China Cat Sunflower/I Know You Rider,” “Brown-Eyed Woman,” “Bertha,” “Deal,” “Friend of the Devil,” “Wharf Rat,” and “Jack Straw.”
Singer songwriter Luke Fraser has returned with his theatrical new single, “The Curse.” Following on from Fraser’s debut album, Moth Eaten Romeo in 2022, the troubadour will unveil several singles as he builds towards EP “So Below” later this year.
Having spent many years performing on the London live circuit, both as a solo artist and with a band, Fraser has built a loyal fan base through his emotive style of music. Dramatic, literate, and heartfelt, Fraser’s sound sits neatly between the likes of John Grant and Andrew Bird.
“The Curse” is a perfect encapsulation of Fraser’s stunning sonics. Graceful piano, atmospheric percussion, and confessional lyricism play out, as Fraser’s reflective vocal takes centre stage. A mature, bittersweet piece of music from start to finish.
It’s easy to see why Fraser’s approach to songwriting has garnered support from tastemaker far and wide with the likes of Radio X, Absolute Radio, BBC Introducing, Clout Magazine and many more supporting the artist.
Fans of jazz piano and Art Tatum in particular have reason to rejoice, as Jewels in the Treasure Box: The 1953 Chicago Blue Note Jazz Club Recordings offers 39 previously unreleased performances from Tatum’s trio with guitarist Everett Barksdale and bassist Slam Stewart. Recorded by the Blue Note Jazz Club’s proprietor Frank Holzfeind, this set is a major discovery that deepens a persistently undervalued side of the pianist’s artistry. Collected on three LPs for Record Store Day by Resonance Records, this exquisitely detailed Zev Feldman production is available now on three compact discs and digitally on Bandcamp.
Born in 1909, Art Tatum’s style evolved from stride piano as exemplified by Fats Waller, James P. Johnson, Willie “The Lion” Smith, and Luckey Roberts. Importantly, he was also impacted by the innovations of his contemporary Earl “Fatha” Hines. When assessing the key influences on Modern Jazz piano, Hines and Tatum hover at the top of the list.
The Smithsonian Collection Of Classic Jazz includes two selections by Tatum, both featuring him solo. As a student of stride, Tatum was a technical powerhouse with great stamina who thrived without accompaniment. Lennie Tristano was once quoted as saying that Tatum and Hines were the only two pianists who could deliver jazz’s essential swing while playing alone, and solo is the mode for which Tatum remains most celebrated.
Indeed, even during a trio engagement such as this one, captured by Holzfeind on August 16–28, 1953, Tatum acquiesced to play a few tracks solo; at the Blue Note, it was “Humoresque,” “Begin the Beguine,” “Someone to Watch Over Me,” and “Elegy,” all revealing him in solid form. It’s notable that the cuts on the Smithsonian collection were recorded in 1949 for Capitol (“Willow Weep for Me”) and in ’56 at a private party (“Too Marvelous for Words”). Interestingly, one of Tatum’s signature solo tunes, “Tea for Two” is tackled on Jewels in the Treasure Box by the trio.
Los Angeles, CA | LA’s oldest record store hits the market for nearly $5 million: Los Angeles’ oldest record business has officially hit the market, and it could be yours for a cool $4.9 million. The Record Collector, located in the Melrose Arts District, houses over 500,000 rare and irreplaceable records. Owner and seller Sanders Chase has amassed the collection over a span of 60 years. The original Record Collector first opened on Highland Avenue when Chase was just 22. At that time, he started with just 10,000 classical recordings. Famous faces have been through the Record Collector’s doors, including Michael Jackson, Frank Sinatra, and Bette Midler. “The Record Collector” has carried the analogue torch for 50 years. Sandy is ready to pass the torch to someone for the next 50… The Record Collector has made its groove and is here for eternity,” the listing said in part. The property spans 3,338 sq feet on the north side of Melrose Boulevard.
Pittsburgh, PA | From cassette tapes to vinyl records, physical media is trending in Pittsburgh: Cassette tapes brought Veronika Cloutier to Pittsburgh. Vinyl LPs have kept her here. Before moving to Pittsburgh from North Carolina in 2021, the former vocalist and guitarist for the band Attack Cat measured the city’s livability by connecting with a local indie label that releases cassettes. “The fact that there was going to be a music scene that was accepting was important,” said Cloutier, 26, of Allentown. “It was good to know I could come here and do my thing.” Within weeks of arriving in Pittsburgh, Cloutier landed a job at The Government Center, the popular North Side record shop, bar and performance space. Today, she aids music aficionados as they snap up LPs at The Government Center Outpost, a satellite of the original location that recently opened on Dormont’s Potomac Avenue. “What people buy is all over the board—I’m always surprised by the stuff that people pick up,” said Cloutier, the shop’s manager.
Albuquerque, NM | Six local record stores to check out in Albuquerque: With vinyl records making a comeback, the question is: “Where can I find a local record store in Albuquerque?” 1. One Long Groove One Long Groove focuses on restoring old records to help bring that vinyl back to the community. Collectors can purchase a vinyl to add to the collection, sell any vinyl collections at the store as well. Before selling, One Long Groove also machine cleans the records to ensure the best sound quality. 2. LongHair Records LongHair Records holds a large stock of vinyl records, cassette tapes, VHS tapes, compact discs and more at their store. The store even holds a small collection of books with vintage pressing. There is a wide variety of genres in stock for every listening platform someone might be interested in, and all devices and stock are tested before being sold. LongHair is also available for small repairs on audio equipment. Besides selling a wide range of music, the store also hosts music events…
Hawkesbury, AU | Behind the Counter: How One Conversation Led to Owning a Record Shop: The sweet songs of Richmond Records have been serenading the Hawkesbury since the 1980’s, with the store being pivotal to our local music scene. But this year the store is getting some fresh paint, so we would like to welcome to the stage the new owner… Spyda! Spyda, or Paul, is a retired Police Officer of 32 years, who has always held a passion for music. He said he is still “giggin’ around” and that on a typical Sunday afternoon you can find him playing in a band at a local pub, or writing his own music. Spyda becoming the owner of the store seems like it was fate. He told us the story of how he and his wife Laney fell in love with the store in early 2023 while adventuring through Richmond… “Laney said ‘oh look at that cool little shop on the corner!’ so we pulled over, walked in, and just fell in love with it”. With his love of a chat, Spyda got talking to the former owner Mark and his son Zac, and even did an interview with them both. Not long after that day the shop went up for sale, so the pair got talking to Mark again and ended up becoming the newest owners.
LAS VEGAS, NV | After a hugely successful first year, Sick New World returned to the Las Vegas Festival Grounds April 27 and brought with it a massive lineup from across the nu metal and rock worlds. System of a Down returned to the festival as the day’s headliner, and the list of artists included Bring Me the Horizon, Alice in Chains, Sleep Token, Danny Elfman, A Perfect Circle, and Slipknot, among others. Las Vegas lucked out on the weather. After a stormy Friday, the high Saturday was a lovely 78 degrees, which made the one-day marathon a lot easier to enjoy.
Scheduling over 60 bands to appear in just one day meant choices needed to be made by all in attendance. In 2023, the bands were spread across four stages; this year, a fifth stage was added. Bands not performing on the main Red and Gold stages seemed grouped more or less thematically—hardcore on one stage (Diablo), newer bands on another stage (Spiral), and industrial/electronic bands on yet another (Siren).
The scheduling overlaps and distances between the stages, coupled with the huge crowd, often made it tough to see (and photograph) bands; nonetheless, fans in attendance endeavored to pack in as much as possible. As a side note, festival organizers also made sure there were plenty of food and beverage vendors and made sure the fairgrounds had free water stations set up throughout so everyone could stay hydrated. Perhaps more impressive were the bathrooms, which managed to stay stocked and maintained all day, no easy feat with a crowd of this size.
The day got started early, with traffic snarled around Circus Circus Hotel and Casino and long lines forming at the festival grounds long before gates opened at 11AM as people love to go into Casinos to play games, while others play online using the trusted online casino review malaysia to find the best options. The first band, nu metal pioneers Nonpoint, took the stage at 11:10 am, when most people were still making their way through security. Many players also turn to a reliable situs toto slot for convenient online entertainment that captures the same excitement as a live casino experience.
An early day highlight was the return of Kittie. In 2017, the band went on an indefinite hiatus. However, fueled by renewed (i.e. Gen Z) interest in nu metal bands, Kittie performed its first new song since 2011 at Sick New World in 2023. The 2024 crowd enthusiastically welcomed Kittie back in 2024; Sick New World was the band’s first gig of the year.
VIA PRESS RELEASE | The Mountain Goats announce the reissue of their classic 2000 album, The Coroner’s Gambit. Long out-of-print and sought after by Mountain Goats fans, The Coroner’s Gambit returns to CD, standard LP, and Kandy Korn Hybrid Yellow vinyl—and debuts on cassette—on June 28, 2024, featuring new liner notes written by John Darnielle. In a nod to the original release, a limited number of Peak Vinyl copies, available from the Mountain Goats’ Bandcamp page and the Merge store will be housed in a paper bag featuring the printed liner notes.
John Darnielle, on The Coroner’s Gambit: “There are few records in the Mountain Goats catalog that are closer to my heart than The Coroner’s Gambit. It bears a sonic thumbprint shared by none of its brethren (Panasonic RX-FT500, Marantz PMD-222, and sessions in Omaha probably recorded to a Tascam Porta-One) and while two of those sources appear on several later releases, none of the other records really sound like it. Although it contains exactly no autobiographical songs, it feels personal to me—intimate, diaristic. I have vivid memories of the songs I wrote and recorded in Colo, and foggy memories of the Greyhound trip to & from Omaha. I was taking Greyhounds across midwestern state lines to record songs with friends when I made The Coroner’s Gambit, is what I’m saying. You can maybe hear the exhaust of the Greyhound in the songs if you listen close.”
The Coroner’s Gambit finds John Darnielle between physical and sonic spaces, five of its sixteen songs recorded in Simon Joyner’s Omaha, Nebraska studio, five more at home in Colo, Iowa, and the rest after he moved to Ames. The mix of home and studio recordings grants The Coroner’s Gambit a thrilling sense of immediacy, its sharply drawn characters and the immaculately appointed lore of the worlds they occupy representing a breakthrough for Darnielle as a practitioner of the full-length album. It is an early masterpiece, an introspective epic that further burnishes Darnielle’s reputation as one of our greatest songwriters, one whose gift for confessional fabulism knows few rivals.
The Mountain Goats are gearing up to tour the UK and Ireland before playing Primavera Sound this May. John Darnielle will perform a solo set during the Merge 35 festival in July, and the band will play a co-headlining show with The New Pornographers in August.
Just got back from lovely Costa Rica, and let me tell you this—they sure play a lot of Latin American music down there in Latin America. It was downright disturbing, at least to this Ugly American, who needs rock and roll to function but wasn’t hearing it anywhere.
Well, that’s not exactly true. As I was making my torturous way north on nerve-wracking Highway 1 over the mountains between capital city San Jose and the city of Liberia (four-and-a-half hours to go 133 miles!), turning the radio dial of my Chinese SUV from end to end and getting nothing but nothing, I pleaded to the God of the mountains to throw me some good old American rock and roll. And for my sins the God of the mountains, and I’m not making this up, gave me James Taylor’s “You’ve Got a Friend.” Be careful what you pray for.
But things began to look up when I reached my destination, the beach town of Playas del Coco on the country’s Pacific coast. The second night there I happened upon a band of aging hippie gringos playing an enthusiastically inept version of John (pre-Mellencamp) Cougar’s “Hurts So Good” at an open air bar on the main strip. I love bad cover bands—butcher a song and I will love you forever. And things got even better—my new favorite coffeeshop—the only reason I go to exotic places is to sit in coffeehouses—played Creedence Clearwater Revival, a lot, along with plenty of live Elvis from the late sixties and early seventies.
Anyway, that steady diet of Creedence and cappuccinos may just have saved my life. It helped me to forget that I was a non-drinker in a drinking beach town who doesn’t fish, surf, snorkel, kayak, sunbathe, scuba dive, ride horses on the beach (I’m not crazy!), or go on tours into the wilds to be torn to pieces by adorable sloths (pacifists my ass!). Hell, I can’t even swim. It also helped me to forget that it was so hot that the ubiquitous vultures to be found walking the streets or talking romantic walks on the beach seemed to be looking not for carrion but for air conditioning.
Taylor Swift and Record Store Day see highest weekly vinyl sales in 30 years: Last year marked the 16th consecutive year of growth for the format. Vinyl sales recently enjoyed their highest weekly total sales in three decades, thanks to Record Store Day and Taylor Swift. The report was shared by digital entertainment and retail association ERA, which confirmed that one week last month saw the sales of vinyl records reach a new high in recent years. It was the week that Record Store Day (April 20) took place that the figures marked the highest in 30 years, as countless music lovers flocked to both physical and online stores to purchase physical copies of their favourite releases. As well as seeing lots of exclusive releases from musicians, Record Store Day also happened to take place one day after pop icon Taylor Swift shared her latest album ‘The Tortured Poets Department’, which immediately topped the charts, took over social media and shifted over 2.6million copies in the US alone. Thanks to both, data from the Official Charts Company has shown that the week saw 269,134 vinyl albums and 37,656 vinyl singles sold—making for a total of 306,791 units.
Chicago, IL | Let’s Boogie Record & Tapes: Local record store celebrates the future of physical media: Customers rifle through records and cassettes of their favorite artists in Let’s Boogie Record & Tapes as the morning sun streams through the store windows. Behind the counter, co-owner Jason Keller keeps track of the day’s sales while greeting new patrons. His brother-in-law and co-owner, Phil Lesnik, organizes albums around the shop. The small record store in the Bridgeport neighborhood buzzed with activity Saturday, April 20, as customers and employees celebrated Record Store Day. Started in 2008, Record Store Day is a globally observed celebration of independent music stores that takes place each year. The goal of the holiday is to celebrate these small businesses’ role within the communities they serve while also emphasizing the importance of physical media. In an age when music is available at the tap of a finger, many still opt to support their local record shop.
UK | Our Price share more details of their plan to relaunch iconic music store: “We want [customers] to grow with us and see this progress – feel part of it – influence it” Our Price have shared more details about their plans to relaunch the iconic UK music store and plans to grow the business in 2024. The classic music store was a popular chain of record stores across the UK and Ireland, which launched in the 1971 and became a famous presence on high streets across the country up until the early ‘00s. Despite once having over 300 branches on UK high streets and being named the second-largest retailer of records and tapes in the ‘80s, the company saw a gradual decline over the early ‘00s and was ultimately forced to close its doors in 2004. Now, 20 years on, the brand announced that it would be relaunching today (April 30) with an online store containing 20,000 vinyl, merchandise and a range of hi-fi and audio equipment. To celebrate the launch, Our Price have shared more details about their plans to return, as well as what music lovers can expect to see in the coming months.
Gainesville, FL | After 30 years in business, Hear Again Records owner says the shop is here to stay: There is a music store in downtown Gainesville that’s so old, it saw vinyl make a comeback. In the years it’s been open, Hear Again Records, located on 201 SE First St., has survived two locations, two owners and a pandemic. Now, the store has a milestone to celebrate: its 30th anniversary. The store opened in 1994, first owned by Perry Johnson. Andrew Schaer started working there in 1995 and became the owner in 2006; he’s kept it ever since. “When I started working,” Schaer said, “CD was king.” The store originally sold CDs and DVDs, only switching its main inventory to vinyl when it moved to its current location in 2009. As Schaer explained, sales decreased as the burning of discs became more common. While this was happening, vinyl started to make its comeback. “It was a decision I was happy to forcibly make,” Schaer said of the switch.
We’ve closed TVD’s HQ this week for our annual spring break. While we’re away, why not fire up our Record Store Locator app and visit one of your local indie record stores?
If you need someone to talk to tenderly / Or lend a hand and help you on your feet / Don’t you know I live right up the street
All you have to do / All you have to do / All you have to do is speak your mind
I love obscure songs. This Marc Benno tune is gem. All ya have to do?
For this week’s episode I choose a very cool cover that brought back fond memories. After all it was Record Store Day. I love a great record cover and I have several hanging on my walls. I’m not exactly sure these “objects” mean so much.
What I do know is nothing in my life has prevailed in my possession longer than an album. Alice Cooper was the first rock concert my parents let me go to. It was fucking killer.
Los Straitjackets have a whole subgenera of rock to themselves—guitar-led surf instrumentals, twanging away the way The Ventures once did—and with a second gimmick all their own, Lucha Libre wrestling masks.
Even when joining forces with Nick Lowe, as they have for an album and a couple of tours, they’ve maintained their distinct identity and cool swagger. To celebrate the band’s 30th anniversary, the band is on tour that included the Hamilton in DC. Led by Eddie Angel, a rockabilly stalwart who has played with a lot of bands, and flanked by lanky Greg Townson.
With steady backing by bassist Pete Curry and drummer Chris Sprague, the band could go in any direction, but were celebrating its anniversary by largely doing originals from their dozen or so albums, with titles that sounded like artifacts from the past—from the opening “Pacifica” to the signature “Kawanga!” to their version of horror novelty, “Rockula.”
By the second tune, “Outta Gear,” the front line was arranged to do cheesy choreographed moves, augmented by their matching black suits, wrestling mask,s and matching custom guitars. There were a few familiar instrumentals—back from the days when instrumental s were played enough on the radio to become familiar. One was “Out of Limits” from the Marketts, later remade by the Ventures; and the Revels’ “Church Key,” with the drummer adding other non sequitirs in the key breaks (“bird bath!” was one).
Making an instrumental out of a pop hit is a good move, and they did so with “Love Potion Number Nine” (as the Ventures did before them). They went further, though, putting their stamp on the theme from “Midnight Cowboy” such that it retained its haunting melody through reverb. The Benny Goodman staple “Sing, Sing, Sing” becomes a set-closing stinger (with plenty of room for a Gene Krupa-like drum attack). Best of all is their unexpected reworking of the theme from Titanic, “My Heart Will Go On” into a thrilling rocker.