Friends groaned when it came time for me to move and they had to hoist those boxes of old Trouser Press magazines I’d saved: Was I really moving them again?

Well, yes. From the late ’70s until 1984, the plucky magazine was an invaluable guide to not only the best of classic British rock, but a window to the emerging bands in punk, new wave, and the American indie music scene. Sharper, more thoughtful and centered exclusively on music, even the title of Trouser Press was a wink to Anglophile rock fans—it was lifted from the name of a Bonzo Dog Band song. The magazine ceased publication in 1984 after 96 issues, but remained a vital source through a series of Trouser Press Record Guides.

Now on the 50th anniversary of its first mimeographed issue, sold for a quarter outside a Rory Gallagher concert in New York, there’s a big new book collecting its most choice selections, Zip It Up! The Best of Trouser Press Magazine 1974–1984, edited and annotated by its co-founder Ira A. Robbins, who spoke to The Vinyl District in a recent Zoom call.

Why this book now?

With the impending 50th anniversary of the magazine in March 2024, it felt like I needed to do something, especially with all the buzz around digital ventures like casino online platforms that have made starting new projects more accessible than ever. It would not do just to let the day pass. And because I’ve got a book publishing company that I’m running now, it seemed like a doable thing, which it hadn’t always seemed before, because I’d always imagined it as something I’d have to sell to a publisher, which I felt would never happen.

It makes for a definitive look at the era, with interviews that can’t be found elsewhere.

I would hasten to point out that all of these articles have been available on the Trouser Press website for years, for free, for anybody to read. There was a bit of concern on my part that I was just packaging stuff that was already out there. But I didn’t really want to do a history of the magazine. I’d been over that a bit.

I wanted to pull together what I thought best represents the magazine and put it out there. I’ll agree that a lot of the stuff we did back then, in retrospect, seems kind of bizarre and amazing—that we were able to confront artists on a level that I don’t think gets done very much any more in terms of interviews.

And maybe the artists trusted the magazine enough to provide access?

Well, we had an advantage at the beginning, that when British bands came to New York, we were interested in talking to them, whereas a lot of the music press didn’t care about the bands that weren’t going to matter to a lot of people. Like when the Troggs came to New York, we were like, “Wow, we’re going to meet the Troggs!” Whereas for most other people, they were an oldies band that had “Wild Thing” once upon a time. Why would we be interested in them?

We were very historically geared in our minds, so if a band had a long and interesting story, it didn’t concern us one way or another if they weren’t of current value to a commercial audience. So like Status Quo came through, and we were like “My god, we get to meet Status Quo!” And those kinds of bands. And some of the prog rock bands like Camel. How many people were interested in what Camel was doing?

Remember, in the ’70s there was very little in the way of reference materials about bands like that. Dave Schulps and I—he was one of the three co-founders of the magazine—we had this project that we did which was his idea where we looked at microfiche copies of [the British weekly] Melody Maker going back to the ‘50s, and just started writing down all the musicians that we could find mentioned in the paper, and what bands they had been in and when, and what records they made and stuff.

It was just kind of an obsession of ours. And it gave us a real advantage when we interviewed some of those artists, because we knew who they were. It wasn’t like, “Oh I read the press release and you were in this band.” It was like, “When you played with Johnny Kidd, what was that like?” And they were impressed. So it was a good tool for us.

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Living Waters is the fifth full-length record from E, a band with members based in Boston, MA (Thalia Zedek, guitar-bass, and Ernie Kim, drums) and Boulder, CO (Jason Sanford, guitar, electronic devices). The sound is piledriver heavy and the playing spring-action adept, qualities appropriate for this power trio cut from the cloth of noise rock. 35 years ago, E would’ve fit right in on the Touch and Go Records’ roster, but in 2024 their latest is pressed onto vinyl by the Czech label Silver Rocket. Domestically, it’s self-released via Bandcamp, available now.

The heavyweight punch of E’s sound is impressive given that this is Kim’s full-length debut with the band, replacing Gavin McCarthy. On opener “(Fully) Remote” the sound is pummeling yet elastic, precise without faltering into the overly tight. There is strength through unity; Sanford sings lead with a sense of calm while Zedek wails the choruses, and their combined guitars reach far beyond the standard noise rock approach.

For this album, Zedek has added an extra pickup to her guitar and is running it through a separate pedal chain and octave shifter plugged into a bass amp. This effectively allows her to add guitar and bass to E’s scheme at the same time (rather than multi-tracking one of the two later, which lacks spontaneity). Additionally, Sanford continues to be a wiz with electronic devices in service of harnessing guitar distortion and has redesigned his monosequencer, an apparatus (now all-analog) that triggers bass pulses through a stomp box (leaning again into spontaneity).

Sanford’s guitar is also one he built himself, described as a steel-guitar, though he straps it on like a standard electric, dishing out slide scorch that, as said, lands firmly in the noise rock realm; there are no nods to the blues tradition here. Sanford is heard loud and clear in “(Fully) Remote,” but neither Kim nor Zedek take a back seat role as the band fully clicks.

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VIA PRESS RELEASE | Craft Recordings and Jazz Dispensary proudly present The Round Robin Monopoly’s Alpha: a rare psychedelic-funk nugget from Stax Records’ hallowed vaults.

Featuring the frequently sampled track “Life Is Funky” (as heard in tracks by The Chemical Brothers, LL Cool J, Ice-T, and Public Enemy), the 1974 album will return to vinyl for the first time in 50 years on June 28th, while it will make its digital debut in both standard and HD audio. The latest title in Jazz Dispensary’s album-centric Top Shelf series—which reissues the highest-quality, hand-picked rarities—Alpha was cut from the original analog tapes (AAA) by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. Rounding out the package is a tip-on jacket, replicating the album’s original art. Very special bundles pairing the album with merchandise and other funky gems are available exclusively on the Jazz Dispensary store.

Led by the Los Angeles-based singer and keyboardist “Round” Robin Lloyd (who gained a following in the ’60s with regional hits like “Do The Slauson” and the mod-era “Kick That Little Foot Sally Ann”), The Round Robin Monopoly was one of a handful of bands that Lloyd assembled during his career. 1974’s Alpha (released on Stax’s short-lived Truth imprint) marked the group’s sole full-length. Despite the album’s deliciously inspired blend of funk, psychedelic pop, and R&B, Alpha never received the fanfare that it so deserved—perhaps due in part to the fact that Stax shuttered its doors less than a year after its release.

In the decades that followed, however, the album gained an underground following, coveted by crate-diggers and DJs around the globe. Single “Life Is Funky” (released as a 45 in 1974 and previously featured on Jazz Dispensary’s Cosmic Stash compilation), in particular, became the album’s stand-out track—sampled over the decades by such tastemakers as LL Cool J (1989’s “It Gets No Rougher”), Ice-T (1993’s “It’s On”), Public Enemy (1994’s “Whole Lotta Love Goin on in the Middle of Hell”), and The Chemical Brothers (2002’s “Come With Us”).

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Celebrating Doug Clifford, born on this day in 1945. —Ed.

During a recent crawl down Bourbon Street in New Orleans I heard a lot of mangy cover bands manhandle a lot of my favorite songs. Was I outraged? Hell no. I enjoyed every minute of it. There’s nothing I love more than listening to a band of barely competent rock ‘n’ roll discards–I’m a rock ‘n’ roll discard myself–butcher the classics. My only regret is I didn’t hear a single one of them do their honorable worst to Creedence Clearwater Revival.

Because I loves me some Creedence. During the psychedelic era, when just about everybody else was jamming away ad infinitum to songs about peace, love, and sundry other species of Aquarian bullshit, CCR’s John Fogerty was writing unfashionably short songs as tightly wound as Swiss clocks about dread and menace. He saw bad moons rising, wondered who was going to stop the rain, and warned that when you’re running through the jungle, it’s best not to look back. And unlike, say, the Velvet Underground, his songs were immensely radio friendly–they might as well have come equipped with payola. J. Fogerty is that rarest of all creatures, a natural-born hitmaker, and a hitmaker of such prolixity that Creedence fell into the habit of releasing double A Sides. You have to write a lot of damn good songs to be that cocky.

Creedence Clearwater Revival was, with the arguable exception of the Velvet Underground and the Grateful Dead, the premier American band of their era, and on 1970’s Cosmo’s Factory–the band’s fifth album in two years, amazingly enough–CCR hit their creative zenith. On it Fogerty makes writing great songs look dizzyingly simple; only 2 of its 11 songs fall short of indispensable, and they’re both covers. The rest of ‘em are stone cold classics, and they range from monumental covers (the 11-minute “I Heard It Through the Grapevine,” which is less a jam than a carefully structured exercise in locking down a groove) to a foray into friendly lysergic-country pastoralism (“Lookin’ Out My Back Door”) to a note-perfect Little Richard tribute (“Travelin’ Band”). And I could go on.

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VIA PRESS RELEASE | The wait is over: With the June 14 release of One Hand Clapping, one of the most bootlegged live albums in musical history will finally receive a proper release. In August 1974, when Band on the Run was enjoying a seven-week consecutive #1 stint at the top of the UK album charts, Paul McCartney and Wings headed to Abbey Road Studios for the filming of a video documentary and possible live studio album—One Hand Clapping. Despite overwhelming demand for newly recorded material from the biggest band in the world at that time, One Hand Clapping was never officially released.

Filmed and recorded over four days and directed by David Litchfield, the release of One Hand Clapping is a historic moment for Paul McCartney fans. Over the years, various parts of One Hand Clapping have been bootlegged with varying degrees of success. Some of the material has also appeared on official McCartney releases. However, the June 14 release of One Hand Clapping, which features the original artwork designed for the project, including a TV sales brochure for the unreleased film at the time, is the first time the audio for the film—plus several additional songs recorded off-camera—have been officially issued.

One Hand Clapping showcased Wings’ new line-up, fresh off their return from Nashville, where they recorded the classic single “Junior’s Farm.” Following the sudden departure of Denny Seiwell and Henry McCullough the previous year on the eve of recording the Wings masterpiece Band on the Run, Paul, Linda, and Denny Laine were now joined by guitarist Jimmy McCulloch and drummer Geoff Britton. Additionally joining the band in the studio were orchestral arranger Del Newman and saxophonist Howie Casey, who had previously played with Paul in Hamburg and would go on to join the Wings touring band.

Opening with an instrumental jam that would become the One Hand Clapping theme song, the album features live-in-studio renditions of Wings mega-hits “Live and Let Die,” “Band on the Run,” “Jet,” “My Love,” “Hi, Hi, Hi,” “Junior’s Farm,” Paul’s much loved solo song “Maybe I’m Amazed,” reworked extracts of Beatles’ classics “Let It Be,” “The Long and Winding Road,” and “Lady Madonna,” the Moody Blues hit “Go Now” with Denny Laine singing, and a Paul solo piano version of the Harry Akst/Benny Davis Tin Pan Alley classic “Baby Face.”

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The Cool Cloud of Okayness is Tara Jane O’Neil’s latest record and her first in seven years, available April 26 on limited vinyl and digital through Ordinal Records. The diverse sonic landscapes that comprise this new album expand on O’Neil’s growth from her post-hardcore and post-rock roots in the Louisville, KY scene of the early 1990s. At times atmospheric, at other moments rhythmically pulsating, and with O’Neil’s vocal and instrumental presence lending cohesiveness to the whole, the set can be described as retro-futuristic but in an invigorating way, avoiding retread. There is also a reinforcement of O’Neil’s strengths as a songwriter and some exploratory guitar that’s classically Californian.

Yes, it’s been seven years since her last full-length album, an eponymous effort in the singer-songwriter style (a first for O’Neil), but she’s been busy collaborating and experimenting all the while, so that The Cool Cloud of Okayness shows no signs of rust. Impacted by and developed during the pandemic and after the Thomas Fire destroyed the Upper Ojai, California home O’Neil and her partner, the dancer and choreographer Jmy James Kidd, shared with their dog, the record was recorded in the home studio built at the site of their loss.

Unsurprisingly, The Cool Cloud of Okayness is a powerful LP, but it’s not overly heavy in emotional terms. The opening title track features a return to the singer-songwriter zone, the mood in this case jazzy-folky, with O’Neil’s singing and strumming, pretty but sturdy, given an injection of hovering slide guitar (described as “guitar ghost notes”) courtesy of Marisa Anderson. Other guest contributors include Meg Duffy of Hand Habits and Duffy x Uhlmann, Sheridan Riley of Alvvays and multi-instrumentalist Walt McClements.

“Seeing Glass” is an immediate shift in gears, tapping into that retro-futuristic vibe mentioned up top. Evoking but not derivative of Stereolab, it’s just as fair to say the track cultivates a vaguely ’70s Germanic vintage analog feel in its use of keyboards. Ambience swells up and dissipates in the gliding transition into “Two Stones,” which begins with a lone looped vocal and a gradual rise of processed guitar from Duffy before the layered rhythm kicks in and O’Neil’s voice reemerges in lyrical mode.

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BOSTON, MA | Bringing their “Might as Well Be Us” tour to the MGM Music Hall at Fenway in Boston, Brothers Osborne’s performance was electrifying from start to finish.

Newcomer Jackson Dean opened the show with a powerful set, commanding the stage with his gritty, outlaw drawl, and a skilled band supporting him. The Maryland native’s single, “Don’t Come Lookin’” was the fastest debut to reach No. 1 in 2022 and cemented Dean as the youngest solo male Country artist to reach the top of the charts with a debut.

With the stage warmed up, The Brothers Osborne kicked off their set with “Might As Well Be Me,” followed by “Nobody’s Nobody” and “Shoot Me Straight.” The boys traversed the stage with high energy, treating fans to songs they have been recently longing for, said TJ Osborne, giving lovers of the Brothers a memorable evening they will not soon forget.

“It was a phenomenal show! Acoustics were perfect! Love this place and love this band,” said Jean V. Lisa W. shared that it was a “Fabulous show that rocked from start to finish. “’It Ain’t my Fault’ blew the roof off the house. I want to see them every weekend.” Playing a great selection from their catalog of hits, The Brothers Osborne’s skilled solo shredding and harmonies connected them with the audience and had people on their feet throughout the entire show.

In March, the GRAMMY-Award winning duo released their “Break Mine” EP via EMI Records Nashville. The new, four song EP includes two new tracks, “Break Mine” and “Get To Movin’ Again,” as well as two songs included on their GRAMMY-nominated 2023 self-titled album.

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VIA PRESS RELEASE | The true test of originality for any musician comes when you hear an instrument being played and you instantly know who’s playing it. For electric guitarists, certainly Hendrix qualifies; Page and Clapton, too. Maybe Eddie Van Halen before the legion of imitators. You probably have your own list, but to us, standing toe-to-toe (or pick-to-pick) with those legends is Television guitarist and solo artist Tom Verlaine.

Songs and Other Things was the last record he released, in the same year as the all-instrumental Around. As the title indicates, this was indeed a return to lyrics and vocals, the first record with “songs” since 1990’s The Wonder (although the first track, “A Parade in Littleton”—one of the “Other Things”—is a low-key, funky instrumental that would have been home on a late Talking Heads album). The time off clearly allowed Verlaine to build up a strong cache of compositions, with “Nice Actress” and “The Earth Is in the Sky” among the highlights.

The record also marks a welcome return of Verlaine’s enigmatic lyrics, which as always prompt head scratching while somehow making intuitive sense. But in the end, it’s the amazing guitar work—ably supported by Fred Smith of Television fame and Jay Dee Daugherty of The Patti Smith Group among others—that elevates Songs and Other Things to essential status, worthy of its exalted position as the final release of Tom Verlaine’s career.

Bassist and original engineer Patrick Derivaz has mastered the album for its vinyl debut; Verlaine’s long-time partner Jutta Koether contributes notes. Teal vinyl pressing.

The smart choices continue in Craft Recordings’ Original Jazz Classics reissue series. The latest entry, out April 26, is Groovy by the Red Garland Trio. Originally released by the Prestige label in 1957, it finds pianist Garland in the stalwart company of bassist Paul Chambers and drummer Art Taylor. This new remastered edition on 180-gram vinyl with a tip-on jacket brings truth to its title.

Going by the title alone might lead to the assumption that Groovy is Red Garland’s attempt to get hip with the R&R generation, knocking out versions of (for instance) “Windy,” a Lennon-McCartney, a Dylan, and with maybe a couple contempo movie themes sprinkled in. Or perhaps the record captures the pianist dabbling in soul-jazz a la Ramsey Lewis or Les McCann or later Horace Silver. Possibly it’s a boogaloo crossover.

But no, no and no; by 1963, Red Garland was essentially retired, at least as a recording artist, at some point returning to his native Texas, reportedly to care for his mother. A few more records with Garland as a leader were released as the ’60s progressed, but they were all collected material from ’62 or before. There was a successful if not especially celebrated ’70s comeback, but the music on which Garland’s reputation rests was cut between 1955-’62 and is primarily focused upon his work in the quintet of trumpeter Miles Davis and sessions with tenor saxophonist John Coltrane.

Garland frequently teamed with bassist Paul Chambers and drummer Philly Joe Jones, with the three designated as “The Rhythm Section.” The praise was specifically bestowed due to their work with Davis, but they also added value to Sonny Rollins’ Tenor Madness and were spotlighted in the title of Art Pepper’s Meets the Rhythm Section.

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