VIA PRESS RELEASE | “…a stone winner.” —Joseph Neff, TVD

​“…top to bottom this album is a charmer. The opening four tracks dial perfectly into a Nerves-esque, guitar-fueled, power-pop zone. Out Of My Head is short on running time and at less than 35 minutes it is a testament to this man’s ongoing ability to craft the kind of melodies and music that lift your spirits and even compels you to sing along to the effervescent ear worms. Too few bands are making this kind of unalloyed magic these days and for his part Collins should be congratulated for being so adept.”
—Jeff Monk, Winnipeg Free Press

Culled from Paul Collins’ personal archives Another World – The Best Of The Archives compiles previously unreleased tracks going back to 1978 and the early days of the Paul Collins’ Beat. All of these songs have been carefully remastered. Complete with extensive liner notes by the man himself, this is an album for rock & roll lovers everywhere. The vinyl comes with an insert, while the CD version includes a 6 page booklet and 4 bonus tracks not on the vinyl.

Paul Collins’ Beat’s new album Another World – The Best Of The Archives will be available on limited vinyl, CD and digital/streaming formats Sep. 11th via Alive Naturalsound Records. Click here to order the limited blue vinyl.

“Paul Collins’ latest finds the self-proclaimed ‘King of Power Pop’ doling out some more ruling examples of the genre he’s helped prop up since the late ‘70s.”
—John Borack, Goldmine

VIA PRESS RELEASE | Sacred Bones Records unearths Lift It Down, a lost 70s psych folk gem by Jeremiah Sand, the infamous cult leader of The Children of The New Dawn.

​In 1974, Jeremiah Sand and his nascent cult The Children Of The New Dawn decamp LA for the Shasta Mountain region and Redding, CA. They set up shop, begin printing leaflets, hold gatherings and start growing their ranks through recruitment. Jeremiah and the Children are not necessarily an odd addition to Redding in 1974. Since the 1930s, psychonauts and spiritual seekers have been drawn to this area in Northern California under the shadow of the dormant volcanic cone of Shasta.

By 1974, urban California hippies worn down by direct political engagement with state security forces have started drifting North and the towns along the border with Oregon state are filled with ad-hoc spiritual organizations, commune builders and lost souls. Jeremiah and the Children fit right in.

A few years prior to assembling his flock, Sand had self produced and released an album of psych-folk that was unremarkable in almost every way, save for the unrelenting vanity and egoism on display in the lyrics. This early album is one of the only existing documents of Sand. The commercial failure of the album became the catalyst for Sand to leave Southern California and settle in a place where his “truth” would be “received by pure and open hearts.”

Read More »

“If you were born in the ’80s like I was, there are a lot of reasons to consider yourself lucky.”

“We’ve had a unique seat over the course of one of the biggest cultural shifts in history, and have had formative years on both sides of it. Obviously, the way we consume music was a big part of that shift. If you had cool parents like I did, the odds are that at some point, you found a dusty old box of kickass records stored away in a closet somewhere. When I found my Mom’s, it was like striking oil. Luckily for me, the stash included her old turntable as well (you couldn’t order one on Amazon or find one in any Target in 1995).

All of the sudden I was given a snapshot of my 14–22 year old Mother circa 1968–1977 or so, and what a snap shot it was. Black Sabbath Master of Reality (complete with what I found out a few years back is a very a sought after poster inside), Fleetwood Mac, Jefferson Airplane, Little Feat, Carly Simon, Dan Fogelberg, Willie Nelson, Emmylou Harris, Leon Russell, Janis Joplin, Jerry Jeff Walker, Jimi Hendrix, The Doors… I could go on and on but it wouldn’t be anything unexpected from a girl growing up in Houston in the ’60s and ’70s. With her help, I put them on cold, not knowing what I was getting into. And I enjoyed the hell out of it. Some of it I wasn’t really into, but that was part of the discovery.

Things really shifted when I pulled out a record with a picture of some mustachioed fella with dark features on the cover named Frank Zappa called Apostrophe (‘)”. I couldn’t take my eyes off the ‘stache. Then it was on. I wore that record out. Zappa was the first artist and this was the first recording that taught me I could to whatever the fuck I wanted to do—both musically and otherwise (John Hartford hits me the same way).

Read More »

You may know Johnny Iguana as the founder, pianist and chief songwriter for the Chicago-based indie-blues act The Claudettes, but before that he was the keyboardist for Windy City blues giant Junior Wells. Additionally, playing with Otis Rush, Buddy Guy, James Cotton, and Eddy Clearwater, he’s an undisputed purveyor of the blues’ uncut essence. This reality gets driven home a dozen times on Johnny Iguana’s Chicago Spectacular!, wherein he conjures a massive sound from the ivories as he is joined by a sturdy crew of the city’s blues survivors, amongst them Billy Boy Arnold on vocals and harmonica and Lil’ Ed on vocals and guitar. The CD is out now on Delmark Records, a sure sign of quality.

Chicago Spectacular!’s cover is adorned with the additional descriptor A grand and upright celebration of Chicago Blues piano, a statement borne out through eight fresh interpretations of blues classics, most all of them with a Windy City connection, but with four original Iguana compositions (credited to his birth name Brian Berkowitz) diversifying the whole, all instrumentals and all familiar from the output of The Claudettes.

The breadth derives from the instrumental scheme as well as compositionally, with the originals featuring a distinct lineup of Bill Dickens on bass and Michael Caskey of The Claudettes on drums. Notably, guitar is absent on these cuts as they can occasionally insinuate pop-jazz piano trio grooving, but substantially heavier; however, as Bill Dahl mentions in his liner notes for the set, Mose Allison was an inspiration for the soloing in “Hammer and Tickle.” Still, there’s enough post-boogie-woogie oomph in the cut to remind me a bit of Pinetop Perkins’ later work.

Along with its title evincing a humorous side, “Land of Precisely Three Dances” hits a sweet spot between fleetness and stomp, its outburst of handclaps delivering the icing on the cake. Furthermore, the name “Big Easy Women” underscores a New Orleans feel that perseveres even as the momentum and sheer forcefulness rise to a striking plateau (Iguana’s love of punk rock a la Minutemen, Wire, and Hüsker Dü is readily apparent).

Read More »

VIA PRESS RELEASE | A Memphis pop icon, Van Duren was not only a contemporary of Big Star, but also played with that band’s alumni Chris Bell and Jody Stephens in the Baker Street Regulars, in 1976. As a solo artist he was managed by Andrew Loog Oldham (The Rolling Stones). His 1978 debut album, Are You Serious?, found folks comparing him to artists like Todd Rundgren and Paul McCartney. He recorded a second album that was shelved and, 20 years later, released without his involvement. Thanks to the acclaimed 2018 documentary film Waiting: The Van Duren Story and its soundtrack, many have recently encountered Van Duren for the first time, while those who knew of him discovered what became of him.

​Now, finally, Are You Serious?, along with its follow-up, Idiot Optimism, will return to the marketplace remastered from the original analog tapes on CD, double LP, limited-edition colored vinyl and, for the first time, digital. The packages, from Omnivore Recordings, will be released on October 30, 2020. The vinyl editions (while supplies last) will be available exclusively from www.omnivorerecordings.com. All versions are available for pre-order now. With 13 originals written by Duren (with Jody Stephens the only co-writer, on one track), and packaging featuring new liner notes from Van and previously unseen photos, Are You Serious? looks and sounds better than ever, a boon for, well, serious collectors who’ve been looking high and low for this album.

After the release of Are You Serious?, Van Duren immediately returned to the studio, recording 14 tracks (one a medley of two songs) that rivaled his tremendous debut. But the album didn’t see the light of day for two decades, when inexplicably, it was released in Japan without any input from the artist.

With full creative control from Duren, this reissue of Idiot Optimism will be packaged with new art, liners from Van outlining the story of the album, and many previously unseen photos. Featuring his 14 originals and a cover of Bell’s “Make a Scene,” this new edition is remastered from the original analog tapes. Like Are You Serious?, Idiot Optimism has never looked nor sounded better. These are the definitive versions of two lost classics.

Read More »

VIA PRESS RELEASE | Atlantic Records is proud to announce today’s release of the all-star children’s music benefit compilation, AT HOME WITH THE KIDS. 100% of Atlantic Records’ net proceeds from AT HOME WITH THE KIDS will benefit Save the Children, an organization helping better the lives of children across the globe by providing them with a healthy start, an opportunity to learn and protection from harm. AT HOME WITH THE KIDS is available now at all DSPs and streaming services.

​AT HOME WITH THE KIDS features 23 classic children’s songs, lullabies, and brand-new original family favorites, performed by an amazing lineup of top artists and rising stars. The album has been heralded in recent weeks by a series of exclusive track premieres, including Matt Maeson’s moving “Giants,” gnash’s lullaby “night night,” Portugal. The Man’s take on the Annie musical classic “Tomorrow,” “Star Design” by The Knocks, “Riding On My Bike” by Sia, and “I Ain’t No Zebra I’m A Bumblebee” by Anderson East. All tracks are joined by official companion videos, streaming now via YouTube, use the atlanta home theater installation for the best experience.

In addition, AT HOME WITH THE KIDS also features genre-spanning new music from such diverse superstars as Shelley FKA DRAM, Chromeo, Christina Perri, Tove Lo, and A/J of Saint Motel. Further family fun comes from artists including Charlotte Lawrence, IV JAY, Emma Jo Cobb, KYLE, Royal & the Serpent, Midland, Aaron Raitiere, Ben Abraham, chloe moriondo, A Thousand Horses, Charlotte Cardin, and Winona Oak.

The announcement of AT HOME WITH THE KIDS was met by critical acclaim from outlets such as Rolling Stone, Billboard, and SPIN, with SPIN praising Sia’s “Riding On My Bike” as “some new music that’s great for the whole family…The sing-song piano-driven children’s tune effortlessly shows Sia’s affinity toward the carefree, fun and whimsical.”

Read More »

“Vinyl is the best part of Love-In parties.”

“The only good speakers in our house are hooked up to the record player, so we exclusively listen to vinyl when we throw house parties. At the end of the night, you can always see how the mood changed based on what records are left out on the table. I think our last party before COVID started with Beyonce’s Lemonade and ended with Pink Floyd’s Wish You Were Here. I guess whoever put on that last record must’ve known something the rest of us didn’t.

Our collection is pretty eclectic because we all buy records for different reasons. My part of the collection consists of records I like to cook to, be alone to, dance to, and old jazz records featuring recordings I’ve never been able to find anywhere else. We stop at record stores in most cities we tour in, so it’s cool to be able to find little gems all over the country. The problem is keeping them safe for the rest of the tour. Our van’s AC is not the most reliable so I always worry they’ll melt in there.

Read More »

Paul Collins was in what he calls, “the greatest band that never was.” As an integral member of California’s first power-pop trio, The Nerves, Collins was an early architect of a sound that wasn’t quite punk or new wave, it was power pop, but it was more: it was 24 carat rock and roll. Their music was so tight, well crafted and full of youthful energy and spunk that Blondie chose to cover The Nerves song, “Hanging on the Telephone” on their massively successful Parallel Lines album; in fact, it was the lead-off track. Today, Parallel Lines has sold somewhere in the neighborhood of 20 million copies; anyone who ever put a needle down on side one of that record had to hear a Nerves song first.

Today, music historians view The Nerves as a major rock and roll influence on modern music, but the band had challenges pushing through to the mainstream during their own time. Post-Nerves, Paul Collins wasted no time scrounging up the gumption for his second attack on worldwide success by creating another extremely influential rock band, The Beat (aka Paul Collins Beat). This time, Collins stepped from behind the drumset, wrote a barrel full of infectiously pure rock and roll and—with the help of Eddie Money, a record deal from CBS and management from Bill Graham—set out to take over the world.

Well, his career didn’t quite go the way he planned. In fact, most things didn’t and that’s what makes Mr. Collins’ new book I Don’t Fit In such a hypnotic read. It’s a rock and roll showbusiness story full of backstage realities, near misses, one-way plane tickets, addresses written on napkins, and smiles in the spotlight. But it’s also a tale of commitment and one man’s dogged pursuit of the light at the end of the tunnel.

Paul Collins and I discuss all of these things, and boy did we discuss: in-fact, we discussed so much that this will be a Radar two-parter, the first coming to you at the beginning of the Memorial Day weekend holiday, and the conclusion will find you when we see you again on the other side, in September.

Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector and hi-fi aficionado. Toth hosts and produces The Sharp Notes each Saturday evening at 6pm and TVD Radar on Sundays at 5AM on WFDU, 89.1 FM. Follow him at the usual social media places and visit his website.

I love ABBA. I love them so much I contacted the Swedish ambassador last week to see if I could buy them. “ABBA are a national treasure,” the ambassador informed me. “But a thousand kroner would probably do it.” I was rather taken aback really, given ABBA are Sweden’s biggest export behind Swedish Red Fish and Swedish meatballs.

ABBA’s frothy brand of Europop and disco bring back fond memories of my first and last visit to a discotheque. The experience was unforfeitable insofar as it ended with me throwing up in the parking lot, but it wasn’t ABBA’s fault–staring at the revolving glitter ball above the dance floor gave me vertigo.

From disco classic “Dancing Queen” to “Waterloo,” ABBA’s songs were good, innocent fun. Who can resist their infectious melodies and perfect harmonies? Lots of people, evidently. ABBA were anathema to the “Let’s burn down the disco crowd,” and none other than Robert Christgau saw fit to describe their “real tradition” as “the advertising jingle.”

Formed in 1972 by Agnetha Fältskog, Björn Ulvaeus, Benny Andersson, and Anni-Frid Lyngstad, ABBA first made their mark by winning the 1974 Eurovision Contest–a sure step to superstardom, as evidenced as by such memorable bands as Teach-In and Herreys. It took awhile for ABBA to catch on with US listeners, but when they did they did it big—in the years between 1974 and 1981 they placed a dozen singles on the American Top 40.

The ABBA sound is a study in contradictions. On one hand their music is as frothy as it’s frosty; detractors will tell you their music is as cold as a dip into a Hellasgården ice bath. But to pop and disco lovers their music is something you’ll want to warm your hands over—especially if you spent your formative years listening to “Dancing Queen.”

Read More »

VIA PRESS RELEASE | Independent artists from around the world have come together once again to create Talk – Action = Zero Vol. 2: a political action project curated and organized by Bank Robber Music and Rough Trade Publishing. The compilation album will be available exclusively on Bandcamp on Friday, August 28th and all proceeds will benefit Spread the Vote.

​The first volume of Talk – Action = Zero paid tribute to the countless Black Americans who have been murdered due to police brutality, with all proceeds benefiting Black Visions Collective. With a pivotal election on the horizon, Volume 2 highlights the importance of voting and empowering citizens to be heard at the polls. It features over 45 unreleased songs including the debut of Sunroof (Daniel Miller and Gareth Jones), and Repressed, a new collaborative project featuring Kurt Wagner (Lambchop), Mac McCaughan (Superchunk), Phil Morrison, Sarah Louis and Sally Hanson (House of Land).

The compilation also features tracks from Matthew Caws of Nada Surf, Neal Francis, Jennifer O’Connor & Travis Stever, Gary V, LIP TALK & WooF WooF, NY HUSTLERS, LoneMoon, Say Hi, Alanna Royale, Power of Attorney, Roots & Tings, Karyn Kuhl, Pink Mountaintops, The Long Ryders and many more. A majority of the songs featured on the compilation are related to voting, the election or the current state of the country, whether covers or new original songs.

All proceeds will benefit Spread the Vote, a national foundation that helps US citizens and communities empower themselves to be heard at the polls and helping with voter IDs, registrations, education and turnout. “Spread The Vote is thrilled to be working with BankRobberMusic / Rough Trade Publishing on this incredible compilation,” says Spread the Vote founder Kat Calvin. “Music has always been critical for every movement and at this moment, we need great music that inspires us to stand up for our democracy more than ever.”

Read More »