TVD Washington, DC

TVD Live Shots: Eivør and Emily Jane White
at the Fillmore Silver Spring, 7/30

The Fillmore in Silver Spring, Maryland had the privilege of hosting a stop on Faroese vocalist and musician Eivør’s very first North American tour Saturday, bringing a night of Nordic music to the Washington, DC area.

First, a little context for the unfamiliar. The Faroe Islands are a tiny archipelago located halfway between Norway and Iceland and is a part of the Kingdom of Denmark. Known for its isolation and subpolar climate, it’s from this environment that musician and vocalist Eivør Pálsdóttir, who performs professionally simply as Eivør, comes to us. Raised in the village of Syðrugøta (population <500), she performed on television for the first time at age 13 and has since dabbled in jazz, classical, folk, chamber pop, and electronic music, releasing her first album Eivør Pálsdóttir, in 2000.

In the last decade, Eivør has also contributed to the soundtrack of BBC’s The Last Kingdom, her voice has made an appearance in a video game (God of War), and she received the 2021 Nordic Council Music Prize. Eivør’s latest album is Segl (2020). Unlike most of her catalog, her latest release is mostly sung in English.

It was a seated show Saturday night, unusual for the Fillmore, but chairs were filled with fans who not only knew the music but could also sing along in Faroese. I arrived unfamiliar with Eivør’s work and was in the minority that night. There was a woman in full face makeup who never bothered to take her seat, she simply danced in the back of the room all night. Others shouted words of support and threw horns. Eivør seemed genuinely humbled by the support of the crowd, saying she only expected “maybe about 10 people” to show up.

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The TVD Storefront

TVD Radar: The Sons of Adam, Saturday’s Sons: The Complete Recordings 1964–1966 in stores now

VIA PRESS RELEASE | High Moon Records releases The Sons of Adam’s Saturday’s Sons: The Complete Recordings 1964-1966, the first-ever comprehensive anthology of the legendary 1960s L.A. band, arriving everywhere today. All formats—including a gatefold 2 LP set, CD, or digital download—will feature remastered recordings, along with deluxe packaging, extensive liner notes, lavish artwork, a bounty of never-before-seen photos, and more.

Saturday’s Sons: The Complete Recordings 1964-1966 was heralded by the premiere of the ever-electrifying title track, “Saturday’s Sons,” joined by a psychedelically charged animated visualizer created by renowned musician/visual artist Martin Carr (The Boo Radleys, bravecaptain) and streaming now via YouTube.

Led by visionary guitarist Randy Holden (Blue Cheer, The Other Half) and featuring charismatic frontman Jac Ttanna (Genesis), bassist Mike Port, and drummer Michael Stuart-Ware (Love), The Sons of Adam were a lean, mean rock ‘n’ roll machine, lighting up the Sunset Strip alongside such groundbreaking icons as The Byrds, Buffalo Springfield, The Doors, and The Mothers of Invention.

Schooled in surf and emboldened by the British Invasion, the band earned a reputation as a fearsome live act, known for blowing fellow artists off the stage with their high-energy performance and voluble power. The quartet enjoyed a brief but incandescent three-year career, fueled by a fervent fan following who flocked to such world-famous Hollywood haunts as the Whisky A Go Go, Bido Lito’s, and Gazarri’s to thrill to their explosive sounds and passionate intensity.

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The TVD Storefront

Graded on a Curve:
Bob Dylan & The Band, The Basement Tapes

Celebrating Garth Hudson on his 85th birthday.Ed.

Well, here I am at last, in a deserted warehouse on Desolation Row, about to realize my lifelong dream of interviewing the legendary Bob Dylan. It’s a rather odd place to meet, I know, but I got absolutely nowhere with Dylan’s PR people, so I decided to exercise my First Amendment rights by abducting him, duct-taping him to a rickety wooden chair, and shining a very bright light in his eyes. It’s an unorthodox arrangement, to be sure, but then Dylan is a famously uncooperative interviewee.

“Okay, Schmylan,” I say, opening the interview on a light note. “You’re going to spill or I’m going to shave Vincent Price’s mustache right off your face.”

“You don’t like it?” says Bob in that unintelligible frog-with-emphysema croak that makes his present-day concerts such wonderful exercises in collective audience incomprehension. “Not really. I think it’s creepy. And if it’s creepy I want, I can always listen to Saved.”

“Vince bequeathed it to me in his will,” says Dylan, unfazed by my criticism. “And I happen to like it. It’s so Dr. Goldfoot and The Bikini Machine. I kept it in the freezer for years, on top of a box of Mrs. Paul’s fish sticks. Hey, would watch the parking meter?”

“Quoting your old chestnuts will get you nowhere,” I say. And to prove it, I slip a cigarette between his lips and smack it out again.

“No, I mean literally. I only fed it enough quarters for two hours. And the last thing I need is another ticket.”

“You’ve got bigger worries than a parking ticket, Zimmerman. Like your legacy. You’re the guy who put out Bob Dylan at Budokan. You don’t need a weatherman to know which way that album blows.”

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UK Artist of the Week: Lowli

In need to some calming music to start your week? Then look no further because Irish composer Lōwli just released her stunning new single “Otherworld” and its, well, otherworldly if you ask us.

Channelling the likes of Agnes Obel and Olafur Arnalds, “Otherworld” combines elegant piano tones with cinematic strings and haunting vocals creating a sound that is undeniably mesmerizing from start to finish.

Talking about the single, Lōwli elaborates, “Otherworld” explores the idea of searching for contentment and happiness, and while doing so, losing sight of the bigger picture. It explores the idea of lost time whilst searching for a better situation, when in reality, we often have exactly what we need already.”

Having received funding via the MISP recording grant, Lōwli’s upcoming EP “Otherworld” is due for release in August 2022.

Single “Otherworld” is in stores now.

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The TVD Storefront

Graded on a Curve: Tomato Flower, “Construction” EP

In February of 2022, Baltimore outfit Tomato Flower released their debut EP, the digital-only 6-song effort “Gold Arc,” and now here’s its follow-up, the “Construction” EP, which delivers another sharp half-dozen available August 5 from the Ramp Local label on cassette in an edition of 500 copies and on compact disc in an edition of 1,000. Even better: the songs from “Gold Arc” are added to both. It all arrives ahead of tour dates in support of Animal Collective from mid-August into early September.

With “Gold Arc,” Tomato Flower provided an introduction that was inviting yet not so easy to pigeonhole. On tracks like “Red Machine” and “World to Come” they could sound like a moderately scaled back Stereolab in pop mode, a similarity deepened by the vocals of Austyn Wohlers, who also plays guitar, synth, and on the new EP’s “Aparecida,” flute. But there were also elements reminiscent of post-rock along with structural complexities that could bring math-rock (i.e., prog) to mind.

Jamison Murphy handles the other guitar plus vocals on both Tomato Flower EPs, and on five of the tracks on the new set, he takes care of bass duties, while Mike Alfieri is the drummer; on one “Construction” track, “Fancy,” Alfieri plays bass. Ruby Mars has since joined the band as bassist, which will obviously help with those upcoming live performances and should strengthen an already powerful sound on further recordings (as work on their debut full-length is currently underway).

Furthermore, the potency of Tomato Flower’s approach stems in part from an atmosphere of songs built and honed by individuals together in a room (the title of the new EP is fitting), though clearly, no assumptions should be made regarding how the tracks on either EP came to fruition. Notably, the recording process for both began in 2019 but carried on into 2021; it’s fitting that the two EPs are now combined on one physical release.

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A morning mix of news for the vinyl inclined

In rotation: 8/2/22

Grand Rapids, MI | Vertigo Music: Quite possibly the best record store in Michigan: Goldmine’s Record Store Recon discusses why Vertigo Music might be the best shop in the state of Michigan. The Record Store Recon edition of the Goldmine Podcast puts the Michigan record shop Vertigo Music up for discussion after (somewhat) anonymous reporter Dr. Disc takes a trip there to review it. He brought guest Tom Trauma from the Punk Till I Die podcast along, and they come to the conclusion that this is probably the best store to go to in the state. Listen why.

Montclair, CA | Rhino Records readies Montclair shop for August 5 opening: The last days of Rhino Records in Claremont were wild, with old customers thronging inside for one more purchase. On the final day, June 26, a line of 100 people trailed around the block to get in as temperatures likewise hovered near 100. Some were weekly customers before the pandemic, others hadn’t been seen in a decade, but they felt the urge to breathe the atmosphere and take home a souvenir of a store that had been a touchstone. Grandparents brought in grandkids, who flipped through LPs by vintage bands and asked their elder which album by such-and-such was the one to get. “There’s something beyond commerce,” Aaron Kenyon, who’s clerked at Rhino for 20 years, mused to me in conversation last week. “Part of it was buying music and part of it was that place to go, that place to commune.”

Aberdeen, UK | Bruce Millers: Remembering Aberdeen’s beloved record shop: Making its debut in 1900, by Charles Bruce Miller, the shop quickly resonated well with people in Aberdeen’s music scene as they flocked to buy records, instruments, gramophones and sheet music. In its hay day, Bruce Millers would have been the place to be if you were looking for a new LP or tape for your cassette player. It’s no question Aberdeen has been home to many great stores and Bruce Millers is certainly one that many Aberdonians miss dearly. When it first opened on George Street, people flocked to buy records, instruments, gramophones and sheet music. Making its debut in 1900, owned by Charles Bruce Miller, it quickly resonated well with people in Aberdeen’s music scene. The shop was later taken on by various family members until it closed its doors in 2011. Undergoing a huge expansion during the 1950’s, the shop received a new look when it fashioned a new sign out front. As the shop got more popular throughout the years, the family business had to up and move a couple times.

New York, NY | New York’s Octopus Records opens bricks-and-mortar shop: It’s located at 204 Irving Street in Bushwick, Brooklyn. A new record store opened in New York over the weekend. Launched online in 2019, Octopus Records cut the ribbon on its first bricks-and-mortar shop last Friday, July 29th. It stocks a broad range of styles, from disco and classical to pop and rock. Current electronic recommendations include LPs by Mr. Fingers, Byron The Aquarius and Huerco S. The store is located at 204 Irving Street in Bushwick, Brooklyn, and includes one listening station, plus a selection of books. Visitors are encouraged to bring their own headphones. Browse the store online, and check out some photos via Instagram.

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TVD Chicago

TVD Live Shots: Pinegrove, Gulfer,
and Poise at Thalia
Hall, 7/26

Pinegrove finished off their two-night stand in Chicago at Thalia Hall on Tuesday, July 26 for the 11:11 Tour. Poise and Gulfer provided support for the sold out show.

Pinegrove’s 20+ setlist saw them rip through many highlights of their lengthy catalog, including their newest album 11:11, and favorites from Skylight, Merigold, and many others. Even though Thalia Hall is a larger venue, the band’s boisterous presence and thoughtful, melodic lyrics brought the crowd together in what felt like an intimate setting.

The audience felt just as important as the live show itself. Without the emotional crowd interaction, the show wouldn’t have felt as special as it did. Fans were screaming, jumping, and thrashing their bodies over the barricade, which wouldn’t be a reaction anticipated from Pinegrove’s sound. Their music touches people to the point that they need to physically express their love for the music.

The 11:11 Tour continues across North America through the end of August.

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The TVD Storefront

TVD Radar: Fanny, Charity Ball and Fanny Hill on vinyl for the first time, in stores 9/9

VIA PRESS RELEASE | With the release of their debut self-titled album (previously reissued on CD and vinyl by Real Gone Music), Fanny made history as the first all-female rock band ever signed to a major label, but it was on their second album when the girls really settled into a groove. Highlighted by such tracks as “Cat Fever,” “Thinking of You,” and “Place in the Country,” Charity Ball was a quantum leap forward for the group, and displays a much more sure handed lyrical and musical approach than its predecessor.

Still, this Real Gone reissue marks the first time Charity Ball has been available on vinyl since its original 1971 release, and we’ve gotten it all dressed up for the ball, with the original album art featuring the cover photo by Candice Bergen and a lyric sheet. Ruby red vinyl pressing limited to 2000 copies!

Fanny had already stepped into some big shoes by being the first all-female rock band signed to a major label, but with the release of 1972’s Fanny Hill, they took things to a new level, recording at Abbey Road with producer Richard Perry and famed Beatles engineer Geoff Emerick (the album includes a Beatles homage with a cover of “Hey Bulldog”).

And the result was Fanny’s most varied and ambitious album, sporting a beautiful mix of ballads and rockers and a mature, socially conscious lyrical approach. Pressed in milky clear vinyl complete with original album jacket art and lyric sheet…first time on LP since its original release and limited to 2000 copies!

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The TVD Storefront

Creem is Risen: The Unlikely Return of America’s Only Rock ‘n’ Roll Magazine

Brash, messy, and super opinionated, Creem magazine came out of Detroit as an edgier alternative to the more staid rock magazines of the ’70s. The first showcase for writers from Dave Marsh to Lester Bangs, it covered the era in a manner that was always entertaining. And the acts they covered seemed to dig it as well.

Gone for more than three decades, its memory was revived in the 2020 documentary Creem: America’s Only Rock ’n’ Roll Magazine. Since then, the entire 224-issue archive of the magazine has been put online, a digital Creem site has been posting new stories, and in September, beyond all expectations, a revived Creem will be back in print for  subscribers.

“It never should have gone away,” says John Martin, the former Vice publisher who serves as CEO of the new Creem.  “It went away and it was the champion of rock ’n’ roll. Then look what happened. Culturally we got obsessed with the idea that rock ’n’ roll is dead. That’s not true—it’s not true at all.

“That’s the central thesis of why we should bring Creem back,” he says, “because we need to embrace that rock ’n’ roll community that’s been micro-niched and sub-genred to pieces over the last 30 years. We know that Creem is the brand to do that.”

Martin bemoans the state of rock journalism over the past 15 years when “the impish, funny tone of voice has been lost from music writing. It’s felt very academic, it’s felt very stale, and writing to offend no one and give your opinion to the lowest common denominator, broadest group, because that’s how you get the most clicks.

“What Creem invented—really opinionated music journalism—the time was right to bring that back,” he says. “Because when was the last time you had a good time and laughed while you were reading about music? Probably an old issue of Creem.

Already the online Creem content has caused some waves. A review of an Imagine Dragons record was written without listening to it, for one. And there was a long interview with John Hinckley, who before he turned to a music career, was notorious for firing a gun at Ronald Reagan. “The headlines write themselves on that one, obviously,” he says.

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The TVD Storefront

Graded on a Curve: Grateful Dead,
The Grateful Dead

Remembering Jerry Garcia, born on this day in 1942.Ed.

Many Deadheads, and by this I don’t mean all Deadheads but only many many thousands of Deadheads, suffer from an alarming lack of quality control. To them, the monstrous Shakedown Street is every bit as listenable as Workingman’s Dead. Me, I love the Grateful Dead, but I have by no means swallowed the electric kool aid. Terrapin Station, for instance, makes me want to nail two-by-fours over my ears, and if I hear it coming, I run. Like Hell.

But I adore a half-dozen or so of their LPs, and their 1967 debut is one of them. I love the album for many reasons, but first and foremost I love it because it is, compared to many of the Grateful Dead’s later, more lackadaisical LPs, a real firecracker. The boys are energized, and most of the songs are psychedelic rave-ups that highlight the brilliant playing (I’m not sure he ever sounded better) of guitarist Jerry Garcia. Many Dead albums, including a few I like, are long-winded slumber parties, but on their debut they’re in and out, and traveling at light speed, even on the sole lengthy number, “Viola Lee Blues,” which includes some of the best rock improvisation I’ve ever heard.

I’m not the only one who thinks the LP is uncharacteristic of the Grateful Dead. Bassist Phil Lesh commented in his autobiography that “the only track that sounds at all like we did at the time is ‘Viola Lee Blues,’” before adding that the recording was rushed. To which I can only reply that all of their recordings should have been rushed. The key to their debut is velocity, a characteristic that no one, and I mean no one, would attribute to the mature Grateful Dead. Only two of the LP’s nine songs are originals, but only the bluesy “Good Morning, Little School Girl,” which highlighted the vocals and harmonica of Ron “Pigpen” McKernan sounds like a cover; remarkably, the Dead do a fantastic job of making a potpourri of other artists’ material sound like their own.

Amazingly, the LP only includes one slow burner, “Morning Dew.” And it sounds great reduced to bare bones, as anyone who has ever suffered through the extended live version on Europe ’72 will attest. On this one Garcia’s guitar sounds like the epitome of the “San Francisco Sound,” and his vocals are appropriately doleful. Pigpen’s organ adds some nice seasoning, and the band is as tight as they would ever be. And the Garcia solo! Exquisite.

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A morning mix of news for the vinyl inclined

In rotation: 8/1/22

Charlotte, NC | Premium Sound, the little record store that could, closes up shop: Here we are in 2022, a year when it’s hard to make sense of things, so of course a small vinyl record store in east Charlotte is shutting down because business is too good. What’s happening: Luke Stemmerman’s Premium Sound store inside Tip Top Market spun its final sale this week amid its best year financially. The independent bookstore it shared a space with, I’ve Read it in Books, packed up and closed, too. Tip Top, the easy-going market with craft beer and wine and local goods, is still open, thankfully. Why it matters: Still, for regulars like me, the changes hit like a hard scratch in our favorite track. The combination of Tip Top + Premium Sound + I’ve Read it in Books — three independently owned businesses that shared the same space — gave us the divine trinity of music and books and beer. It was a communal space where you could spend an hour browsing alone in the peace and quiet, because everything you thumbed through had something to say.

Wellingborough, UK | New Wellingborough record shop ready for vinyl lovers with music for all tastes: The record shop opened last week. Music fans who prefer to own their records physically rather than as a download have been flocking to a newly-opened Wellingborough shop. Rotten Records in Midland Road opened its doors last week to fans of vinyl, CDs, and music memorabilia – a reaction to streaming and web-based consumption. Dad-of-three Warren Lee (known as Lee) started records dealing as a side hustle, a job he could do from home around childcare. He said: “I started from home when I was a stay-at-home dad. I bought some records from a charity shop and car boot and sold them online. “I was brought up with records. It was more music than TV. My punishment when I was younger was being made to watch Woodstock with my dad and his mates. They were all ex-hippies.” Even though his father had owned a record shop in the 1970s it wasn’t Lee’s first career choice, spending six years in the construction industry. He understood people’s love of vinyl.

Nashville, TN | Ernest Tubb Record Shop Building Sells for $18.3 Million: New owners include local developer, Tubb relative, Russian-born musician. The Lower Broadway building home to iconic retail business Ernest Tubb Record Shop has sold for $18.3 million — more than three times the figure for which it changed ownership hands 24 months ago. The new owners of the three-story structure are Nashville-based real estate investor and developer Brad Bars, Dale Tubb (Tubb’s grandson) and Ilya Toshinskiy, a Russian-born and locally based musician. The seller was an LLC affiliated with JesseLee Jones, who has owned Lower Broadway’s Robert’s Western World for 23 years. In August 2020, Jones bought both the building and the record shop business, located at 417 Broadway, for $4.75 million from longtime friend David McCormick (read here). For context, McCormick acquired the building and the 0.08-acre parcel on which it sits in 1992 for $128,000. Ernest Tubb Record Shop began operations in 1947 and has been located at its present site since 1951. The store specializes in hard-to-find CDs, DVDs, books, songbooks and vinyl LPs.

Fort Wayne, IN | “Neighborhood record store” turns 40: An Interview with Wooden Nickel’s Bob Roets: Fort Wayne’s iconic independent record store, Wooden Nickel, is celebrating its 40th Anniversary this Saturday, with a city-wide party at Baker Street Centre. Its co-founders, Bob and Cindy Roets, have been dedicated to filling the personal music needs of the community as well as promoting the local and regional music scene since their arrival here from Madison, Wisconsin in the early 1980’s, and are grateful for the continued support and the many connections they have amassed over the decades. Here WBOI’s Julia Meek talks with Bob about their early days in the business, the evolution of the industry and the adventures he and his wife Cindy have had along the journey. “…It just kept growing. I wanted to be the neighborhood record store, if I could make it happen. And we quickly went from a single outlet to we had six by the end of the decade.”

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TVD Los Angeles

TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

You got soul, and everybody knows / That it’s all right, whoa, it’s all right / When you wake up early in the morning / Feeling sad like so many of us do / Hum a little soul / Make life your goal / And surely something’s got to come to you

And say it’s all right / (It’s all right) / Say it’s all right / (It’s all right) / It’s all right, have a good time / ‘Cause it’s all right, whoa, it’s all right / Now everybody clap your hands / Give yourself a chance / You got soul, and everybody knows / That it’s all right, whoa, it’s all right

It’s the last weekend of July. It’s hot so I’m gonna keep it simple: listen to a bunch of old records and maybe hit a few new sides.

At some point this weekend I’ll ride my kid to the beach and watch him surf. I’ll BBQ some chicken and eat crunchy yellow cucumbers. I’ll try to do it all with a smile because “life’s a sweet ride.”

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TVD Los Angeles

TVD Live Shots: Red Hot Chili Peppers with HAIM and Thundercat at Petco Field, 7/27

I was so excited when I found out that the Red Hot Chili Peppers were going to be performing in San Diego at Petco Field. I have been a fan of their music for decades, and it was an amazing experience to see them perform live again after a number of unforeseen “Covid cancellations” the past few years. The sold-out show was absolutely incredible, and I would highly recommend grabbing tickets to this one if they come to your hometown. The energy RHCP released on stage was contagious, and they had the entire stadium dancing and singing along all night long. If you are a fan of the Red Hot Chili Peppers—or rock and roll for that matter—you need to go see this band live.

I’ve honestly been a huge RHCP fan my whole life. As a teen growing up in Southern California, they were my hometown heroes from day one and pioneered a whole new genre of music encompassing funk, rap, and alternative into a unique sound that has been their signature ever since. The Red Hot Chili Peppers have often been imitated, but no one has been able to duplicate their unmistakable sonics or swagger. That in a nutshell is a testament to the incredible musicianship of Anthony Kiedis, Flea, Chad Smith, and John Frusciante.

Opening Wednesday’s show at Petco Field in San Diego were two Los Angeles based bands, HAIM and Thundercat. Both bands were uniquely different and provided those who arrived early an amazing opportunity to rock out as the stadium began to fill up. Thundercat took the stage first and electrified fans with his funky baselines and smooth as butter grooves. HAIM was up next and brought Thundercat’s surge of energy to a whole new level. Sisters Este, Danielle, and Alana ripped off a powerful 9-song set that captured the mind and invigorated the soul of the San Diego faithful. All in all, both openers performed brilliantly and set the stage for what was about to come.

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The TVD Storefront

Graded on a Curve: R.E.M.,
Automatic for the People

Celebrating Bill Berry in advance of his 64th birthday on Sunday.

On 1992’s Automatic for the People—one of the finest LPs released that year or any other year for that matter—Michael Stipe and R.E.M. play Risk. The goal of the board game is to conquer the world, and that’s exactly what Automatic for the People did. Sure, the LP had its detractors and haters, but they were holed up in Yakutsk and things weren’t looking good.

R.E.M. arose from the burgeoning Athens, Georgia indie rock scene with 1982 EP “Chronic Town,” a record that bore an element of mystery that had as much to do with Stipe’s indecipherable vocals as it did the fact that nothing else sounded quite like it. I spent significant amounts of time trying to figure out what Stipe was saying in “Gardening at Night,” but he may as well have been speaking Quechua. Stipe kept mumbling on 1983’s aptly titled Murmur, but indecipherable lyrics notwithstanding “Radio Free Europe” was one of that year’s best songs.

As Stipe began to enunciate the band lost some of its luster—1984’s Reckoning, 1985’s Fables of the Reconstruction, and 1986’s Life’s Rich Pageant all had their moments, but none broke new musical ground, and R.E.M. seemed a band going nowhere. Then came 1987’s Document and “It’s the End of the World As We Know It (and I Feel Fine)” and suddenly R.E.M. found itself with a mass audience. They cemented their place as a commercial pop contender with the playful “Stand” on 1988’s Green and “Shiny Happy People”on 1991’s Out of Time. Both showed the band had a lighter sound, while “Losing My Religion” on the latter LP proved R.E.M. could produce a commercial blockbuster.

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The TVD Storefront

The Best of Radar: The Podcast with Evan Toth, Episode 62: Marshall Crenshaw

Marshall Crenshaw bridged an important gap during the end of the twentieth century. His early hits glimpsed into the recent past; recognizing the work of the ’50s and ’60s masters but soldering it onto 1980s pop, thereby creating a sort of vintage-modern hybrid. Crenshaw also portrayed Buddy Holly in the 1987 film, La Bamba which added yet another layer to his aura back then: as if he were saying, “Hey, I’m going to nail this Buddy Holly cover right now, but stick around to hear my original music, too.”

And there was always plenty of fantastic original Crenshaw music to hear: “Someday, Someway,” “There She Goes Again,” and “Cynical Girl” and his co-written super-hit, “Til I Hear it From You” with the Gin Blossoms, a tune that was inescapable on rock radio during the 1990s (and beyond). He was also always writing and working. During the ’90s, Crenshaw forged a partnership with Razor & Tie Records, releasing several albums with the label.

Today, Crenshaw is revisiting those ’90s albums and reissuing them with fresh masterings and bonus tracks—many released on vinyl for the first time. In this episode, Crenshaw and I discuss his 1999 release, #447. Of course, we also talk about his major label days, the process of recording before digital became de rigueur, getting his act back on the road, and we also reminisce about the last time he and I spoke 10 years ago.

So, join us and remind yourself of how lucky we are to have Marshall Crenshaw in our midst. He might take an occasional glance in the rearview mirror, but his eyes are firmly planted on the road ahead.

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.

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