PHOTOS: RICHIE DOWNS | So, here’s something we’ve observed over time as we’ve taken bands and musicians to Som Records in DC for our record buying excursions—toss most preconceptions right out the window. Like that guy who’s the purposeful party proponent? He’s actually kinda low key, introspective and cerebral. The seemingly shy songstress behind sweeping, evocative compositions? Why, she’s bit of a Chatty Cathy frankly. (And actually we weren’t too sure if Oderus from Gwar would actually fit inside Som, so that was a thing too.)
All of this preambling brings us to our most recent visit to Som Records with Kevin Griffin, he from Better Than Ezra and on tour at the time in support of his debut solo release, Anywhere You Go. Now, if you’ve seen Better Than Ezra live—which we have more times than one can recall—Kevin’s kinda funny. No wait—he’s really funny, and with a setlist of 100% genuine earworms which linger for days, it’s one fine night out.
Here’s what we didn’t expect off that bat from Kevin—that he’d be such a rock raconteur. Certainly songwriters of a particular stripe know their stuff when plunked down in a record shop, and beyond just this, Kevin’s got anecdotes for days. (Well, certainly for an hour plus this day.)
So, come for the true tales of life on the road and elsewhere—and stay for the hilarious story of teen Kevin and Canadian superstars Rush in Monroe, Louisiana. Oh, and the Green Barchetta too. (Not a typo.)
Let’s go shall we? We’re record shopping with Kevin Griffin at Washington, DC’s Som Records!
Counting down the minutes until summer? Well fear not because with CHERITON’s “Parallel” you’ll feel instantly transported into a shimmeringly sunny universe that is guaranteed to warm you up.
The emerging artist—known to his friends as Nick and hailing from the not-so sunny Kent—has made his official debut with the hugely infectious single “Parallel” and its bloomin’ marvelous. Swarming with jangly guitars, twinkling synths, and Nick’s gorgeously uplifting lead vocal, “Parallel” is an instantly infectious ear worm that is bound to get you in the mood for summertime.
Unsurprisingly this indie-pop gem sparks resemblances to a number of fellow feel-good musicians including Fickle Friends and Bastille, who the song’s producer Andy Hall Hall has also coincidentally worked with in the past. Bravo. Keep your ears peeled for more new music from CHERITON as he plans to release his debut EP later this year.
It’s long well-known that singer-songwriter, rapper and DJ Neneh Cherry excels at defying categorization, but roughly three decades ago she burst onto the global scene with confidence by exploding the boundaries between the ascendant genres of rap, ’80s R&B and house music. The single was “Buffalo Stance,” a worldwide chart smash; it widened the era’s pop possibilities and helped lay the groundwork for ’90s trip-hop. In 1989, the song opened her full-length debut Raw Like Sushi, and that the subsequent tracks avoided letdown secured the LP as a landmark of stylistic hybridization. For its 30th anniversary, Virgin/UMe has given it 3LP and 3CD editions, both with a 48pg album-sized booklet. There is also a slimmer reissue of the original record sans extras on gold wax. All are available now.
Raw Like Sushi is Neneh Cherry’s debut, but to call her a newcomer to the scene in 1989 is erroneous, as early in the decade she’d sang in The Slits, with membership in Rip Rig + Panic following shortly thereafter. A little later she was a third of the fleeting trio Raw Sex, Pure Energy (responsible for the Falkland Islands War protest 12-inch “Stop the War” b/w “Give Sheep a Chance”) and Float Up CP (basically Rip Rig + Panic reformed under a new name).
Inching nearer to her pop breakout, she collaborated with Matt Johnson on “Slow Train to Dawn” from The The’s 1986 LP Infected and contributed to “Looking Good Diving with the Wild Bunch,” the B-side to the Stock Aitken Waterman-produced ’87 single “Looking Good Diving” by Morgan-McVey (featuring Jamie Morgan and Cameron McVey, the latter Cherry’s future husband).
“Looking Good Diving with the Wild Bunch” can be described as “Buffalo Stance” in embryo, but the cut has deeper connections to Raw Like Sushi’s whole, as track remixers the Wild Bunch featured Robert Del Naja, soon to be a member of Massive Attack and also the cowriter of Sushi track “Manchild.” The association reinforces the record’s stature as a crucial foundational stone in the architecture of trip-hop, though the deepest credit goes to Cherry of course as she’s long abjured the rigidity of musical format.
London, UK | FOPP – If Aladdin’s Cave was a record store: Fact: This record shop in the buzzing Seven Dials area is dangerous for the wallet. I have never left here empty-handed. What’s not to love about a store selling brand new oldies for as cheap as £5? If you are also coming to the end of your current read, have a browse through their excellent range of books as most are as cheap as £3 each or two for £5, again all brand new. And if you choose to pay the extra pence for a plastic bag it comes as a see-through carrier so you can show off your latest musical finds when wandering around town. The basement has an equally impressive choice of DVDs but that’s less my cup of Rosy (Lee = tea). Show some support for record shops and swing by here. FOPP is owned by the guys behind the precarious HMV high-street name and I always say a little prayer when these owners appear in the news for their latest closures and just hope that this outpost does not fall victim.
Glasgow, UK | Herald Diary at Large: Why vinyl will never die. The year is 1993. The venue is Sony Music Studios in New York City. The band is Nirvana. Fans will later remember this MTV Unplugged performance as one of those rare TV moments that provide a jolt of dissonance, disturbance and drama to the established music scene. Like the Beatles’ first appearance on The Ed Sullivan Show. Or Live Aid, when rock became the new religion; a globalised evangelical church sermon, saving us all from our sins. Although this particular evening in 1993 is low key. Stripped of hubris and hyperbole, yet quietly momentous all the same. Facing his young audience of rock disciples, Kurt Cobain hunches in a chair. A surly toad lumped on a lily pad. The cardigan he wears is the colour of dreich; knitted from wool that could easily have been sheared from a Scottish sky. His lank hair drizzles down his neck; its liquid limpness also redolent of Caledonia at its rain-raddled best. What won’t have any echoes of Scotland, however, are the songs Cobain is about to sing. They promise to be freshly-minted American classics, written by Kurt himself, a native of Washington state. Songs like Heart-Shaped Box and Smells Like Teen Spirit.
Augusta, GA | Out There…Somewhere: Big game of music, not going to Kansas City: San Francisco and Kansas City getting ready to rock, it’s almost time for the big game. “Not much of a football fan,” said Evan Grantski, of Grantski Records The game is being played in Miami at Hard Rock Stadium, and at Grantski Records they know about rocking hard. So when comes to classic vinyl, who wins…Kansas City or San Francisco? “I think musically it would have to go to San Francisco,” said Evan. It’s a hard journey to get to the Superbowl, and Journey has from that city by the bay. So does Jefferson Airplane, and Creedence Clearwater Revival left its heart in San Francisco. And Oy Como Va…it’s Santana. Somebody call a time out. Running up the score, another San Francisco band: Metallica. Sly & the Family Stone called San Francisco home, and Huey Lewis & the News, The Grateful Dead, The Bay Area Band is still huge at the record store “Oh yeah, can’t keep them in stock,” said Evan.
Lake Lanier, GA | Take a trip down memory lane at Moe’s: Moe Lyons was 16 when he purchased his first vinyl record in 1974. “It was ‘Rufusized’ by Rufus featuring Chaka Khan,” says Lyons, who owns Moe’s Record Shop on the east end of Flowery Branch’s Main Street, near the shores of Lake Lanier. “I still have the original at my house, but we have a couple of them here in the store.” As far back as the late ’70s and early ’80s, Lyons had dreams of opening a record store. By 1985, he was hired as Christmas help at a Record Bar store in his home state of Kentucky. Most recently, he retired at age 60 from Hall County Water Treatment after 18 years. He opened the store in April 2019. “I guess you could say I have a music addiction, but I really like to share music, especially on vinyl,” he said. Lyons has been collecting albums for years and now has more than 6,000 albums at home in addition to the 4,000 to 4,500 in bins at the store. Located in the former location of Lakeside Market, the store is filled with bin after bin of vinyl, sorted by genre and alphabetized by artist. Ask him about almost any artist who has recorded an album and he can walk right to the proper bin and quickly pull out an assortment.
I’ve seen Queensrÿche upwards of 40 times and can’t seem to get enough of this ever-evolving band. Their seventeen-song set was chock full of new material, classic tracks, as well as a few from the vault that I haven’t seen performed live in years. Add guitar virtuoso John 5 to the bill and fans were treated to an unbelievable night of rock and roll music that left the capacity crowd screaming for more. It’s the perfect blueprint for what a live music show should be and delivered on all levels Thursday night.
I make no apologies for being a Queensrÿche fan and have been all my life. Watching a virtually unknown band from Seattle on WTBS’s Night Tracks was where it all started, and I have been a die-hard fan ever since. Their brand of no-frills rock and roll (and lineup) has obviously changed over the years, but they continue to crank out amazingly relevant music that’s fresh, entertaining, and most importantly real. Where most bands from their generation have fallen by the wayside, Queensrÿche has reinvented themselves and are still doing what they love on their terms. Their story is rare and their evolution even more extraordinary.
Opening Thursday’s show at the Anaheim House of Blues was Eve to Adam, and band hailing from the East coast and one I honestly have never heard of. However, it was evident from the moment they took the stage that these guys were serious rockers and ones we shouldn’t take lightly. Eve to Adam’s set was short but highlighted the ability of these talented rockers and why Queensrÿche would have added them to this bill. I gave their recent release Ithaca a spin and its solid and think you’ll feel the same way.
Written and directed by Oz Perkins (The Blackcoat’s Daughter) and starring Sophia Lillis (It Chapters 1 and 2), Gretel & Hansel is a 2020 American Dark Fantasy Horror Film based on the German folklore tale Hansel and Gretel by The Brothers Grimm. The story is set a long time ago in a distant fairy tale countryside and focuses on a young girl who leads her little brother into a dark wood in desperate search of food and work, only to stumble upon a nexus of terrifying evil. Gretel & Hansel offers a terrifying untold story to the classic fairytale.
The soundtrack by Paris-based composer ROB (2012’s Maniac, Revenge) is a haunting and hypnotic electronic soundscape that features Moog synthesizers and a mellotron. There was no orchestra involved in the creating process, as ROB played all instruments himself, except from additional cellos by his recording partner Moritz Reich.
From the composer: “The idea was to avoid the traditional musical schemes used in tales—such as the use of symphonic orchestras—and therefore find a more original and specific color, using both warm and synthetic sounds with the predominance of the mellotron and the Moog synths.
VIA PRESS RELEASE | A revival of interest in vinyl music has taken place in recent years—but for many of those from the “baby boomer” generation who made their acquaintance with the music of their youth in this way, it never went away.
Graham Sharpe’s vinyl love affair began in the 1960s and since then he has amassed over 3,000 LPs and spent countless hours visiting record shops worldwide along with record fairs, yard sales, and online and real-life auctions. Vinyl Countdown (Trafalgar Square Publishing, June 1, 2020) follows his journey to more than 100 shops across the globe—from New York to New Zealand, Walsall to Warsaw, (old) Jersey to New Jersey—and describes the many characters he encountered and the adventures he accrued along the way.
Vinyl Countdown seeks to reawaken the often dormant desire which first promoted the gathering of records, and to confirm the belief of those who still indulge in it, that they happily belong to, and should celebrate the undervalued, misunderstood significant group of music obsessed vinylholics, who always want—need—to buy…just one more record.
A mesmerizing blend of memoir, travel, music and social history, Vinyl Countdown will appeal to anyone who vividly recalls the first LP they bought and any music fan who derives pleasure from the capacity that records have for transporting you back in time.
Graham Sharpe has been involved in the betting industry for more than 30 years and has written more than 20 books with a gambling theme. He’s collected vinyl for more than 50 years.
“The sound, the feel, the art. Pulling out a record and dropping the needle is an experience.”
“It’s physical, like playing music. Records move with the music, and that music moves us. Our music is modern, but our sound has always been inspired by our favorite records. In the studio we record live on tape, straight to vinyl, because it helps capture that classic spirit.
The first record I remember was Jimmy Reed at Carnegie Hall. The sound was heavy, the groove deep, and the cover spotlights a guitar and harmonica, the same instruments that inspire me to play. Those old blues records from my Dad’s collection hypnotized me growing up. Records have depth and a spectrum of sound, they pull you in and if you’re lucky they’re just a little bit warped, reminding you of the physical experience.”
—Troy V., guitar / vocals
“For me, it’s tough to claim a favorite record. I’ve been collecting and DJing for a long time and have had so many great experiences acquiring and listening to different records.”
“If I had to pick a favorite I’d have to say that it’s whatever record I got most recently, right now that happens to be Wu-Tang Clan’s Enter The 36th Chamber. Whether it’s a record I know and love and have been after for a while, a lucky find, a gift, a new band that I just saw live, or something totally random, I still have that same excitement and anticipation. I drop the needle and it’s Howlin’ Wolf or Hendrix blowing my mind all over again. That’s what’s cool about the vinyl experience, there’s always more to hunt and devour. It’s primal.
I finished this review only to discover–much to my chagrin-that I wrote one 3 years ago. Just more proof, as any were needed, that I have the memory of a house fly. In any event, this new review is 150 times better than the old one. Besides, all self-respecting music critics should return to this hair metal masterpiece every couple of years. It’s that great.
Judging by the Punky Meadows look-alike on the cover of their 1986 debut and the twin sister of Gene Simmons on their second, these Mechanicsburg chest waxers couldn’t decide whether they wanted to be Angel or Kiss, so they went ahead and bested both of ‘em. Glam metal idols in the days before Kurt Cobain placed former hairdresser Rikki Rockett’s skyscraper ‘do on the endangered species list, Poison packed enough hair to stuff a mattress into their metal and by so doing lubed the loins of a million girls itching to steal their makeup.
Had Poison been nothing more than a pretty pooch they’d have gone the way of Cats in Boots, and poor C.C. DeVille would have had to scuttle back to Three Mile Island with his poison blue Flying V guitar beneath his legs. But Poison had the skills to pay their thousand dollar spandex bills, and come Open Up and Say… Ahh! only Guns ‘N’ Roses had more powder in their pistol.
Counterintuitive as it sounds, there was an innocence to Poison’s twist on L.A. sleaze; unlike those moody social Darwinists Guns ‘N’ Roses (welcome to the jungle!), Poison believed in the power of positive partying. No appetite for destruction for these hair teasers; like Def Leppard, all they wanted was for you to pour some sugar on ‘em and lick it off.
One Company Now Owns The Only Record Store Chains Left In US, UK and Canada: One company is single handled trying to save chain record store retailing, and so far they seem to be succeeding. This week, Sunrise Records announced that it was buying FYE, America’s last remaining nationwide record and entertainment retail chain from Trans World. That means that with the exception of a few much smaller operations, a single company now owns the only major record stores chains left in the United States, United Kingdom and Canada. FYE currently has 206 stores scattered across America and employs more than 2500. Sunrise already owns 114 HMV record stores in the UK and 85 namesake Sunrise stores in Canada bringing total record store owned 405. Sunrise chief Doug Putman said in a statement: “The addition of For Your Entertainment fits with what we are doing with HMV in the UK and Sunrise Records in Canada. There is a space for retail brands that can cater to a new audience of entertainment-hungry consumers.”
Manhattan, KS | Throwback: Local store feels the rise of vinyl sales: According to an article from Rolling Stone, vinyl sales have grown tremendously. The article claims that “CD sales were declining three times as fast as vinyl sales were growing.” Sisters of Sound, a local music store, has taken note of this trend. Sarah Cunnick, co-owner of Sisters of Sound, said they started their shop with 50 percent vinyl and 50 percent CDs. She said she noticed that vinyl sales began doubling around 2010. Although she agrees with Rolling Stone’s research, she believes the numbers may be more than they’re claiming. “The way they figure out how many sales happen, they’re only counting new vinyl,” Cunnick said. “There is hardly a way for them to track old vinyl. The reporting only takes place with the new vinyl.” Cunnick has been doing her own research throughout her store and noticed that for every one new vinyl purchased, nearly ten used vinyl records are purchased. These used vinyl records aren’t tracked when research is being done, which is why she believes the statistics are under representing.
New York, NY | With Vinyl Making A Comeback, A Treasure Trove Could Be On Your Shelf Or Packed Away Somewhere: On Sunday night, millions of people watched some of the best artists in the world honored on the Grammy Awards. Their records might even be worth a fortune someday. But music lovers might already have a treasure trove of valuable vinyl stashed on shelves or in boxes, CBS2’s Dick Brennan reported. Record stores are seeing a lot more action these days. Vinyl sales reached nearly a quarter billion dollars last year. But certain collectors have an eye out for the rarity, valuable albums re- discovered for resale, like a 1963 Bob Dylan, recorded with four unreleased tracks. “There’s only two known copies and I’m the proud owner of the first one. They insured it for $100,000. I’ve been offered as high as $80,000 for it, but I value it more than that,” said David Eckstrom, owner of the Forever Young Store. It’s an extreme example, but there’s more 12-inch treasure out there. But there’s a catch.
Canoga Park, CA | It’s A Shame, But Vinyl Manufacturer Rainbo Records Has Closed: Artists, record labels, and music trends come and go, but an unseen backbone of the music industry since 1939 has closed – vinyl manufacturer Rainbo Records. Rainbo has been the place to go for indies since there was such a thing. This was not only for artists trying to get their initial break like Husker Du, NWA, Kacey Musgraves, and Childish Gambino, but indie labels like punk stalwarts Epitaph and SST; rap imprints Death Row, Priority, and Sugar Hill; early dance labels Moonshine, Mushroom and Thump; and Concord Jazz, Rhino, and American as well. Along the way the company pressed records for the U.S. War Department for messages from home to servicemen overseas, to General Mills for records built into Wheaties boxes, to Disneyland to describe its attractions. That’s why it comes as a huge surprise that Rainbo has gone out of business. Even as vinyl has seen a healthy resurgence, that hasn’t been enough to offset the upcoming 40% rent increase that the company had to endure on its Canoga Park (a Los Angeles suburb) facility.
If this world were mine, I’d place at your feet / All that I own; you’ve been so good to me / If this world were mine / I’d give you the flowers, the birds and the bees / For with your love inside me, that would be all I need / If this world were mine / I’d give you anything
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It’s been a sad week in our “City of Angels.” The Kobe crash is weird and sad karma, and many are now asking why this is effecting us Los Angelenos so deeply. Of course I spent much of the early days of the week listening to sad songs. Today’s playlist muse, “Sadsong Street,” was penned by Richard Swift, another brilliant soul who met his end way too early. I used to tease Richard about his sad songs. Adored by many, somber tunes don’t often lead to fame and fortune in the record biz. Yet for my Idelic heart, I reach for these tunes in times of healing.
This week I couldn’t be help but think about basketball. I’ve long since stopped trying to explain the game’s significance to my upbringing in New York City. At a young age (ironically about the same age as my son Jonah) I wandered out to Central Park to play hoop. What I found was a world, community, a group of friends, heroes and villains, apart from my family and school.
The first time I saw Monster Magnet was in 1999 in my home town of St. Louis, Missouri. The band was touring in support of their breakout masterpiece Powertrip and Kid Rock was opening the show. I remember thinking that Kid Rock was going to be the next big thing. He was touring in support of this debut for Atlantic Records, and he was brilliant (something I would never end up saying again). I would have never guessed that the opener would surpass the headliner in popularity in this situation as Monster Magnet were at their peak, both commercially and creatively.
The band had finally crafted the perfect, universally appealing single with “Space Lord,” and it dominated rock radio and MTV. You couldn’t go anywhere without hearing this song. And it was quite a departure from the band’s earlier work, such as the record that introduced me to the group, 1993’s Superjudge. It was about damn time the world took notice of Monster Magnet, and that success was enough to keep the band rolling for another two decades.
Fast forward thirty years and Monster Magnet is on tour celebrating the legacy of Powertrip with a dedicated tour across the UK. It’s hard to believe that main man Dave Wyndorf is 63 years old. He looks great and can still rock with the best of them.
Unlike most bands who play their celebrated album in its entirety, Monster Magnet is taking a slightly different approach. I was told by a friend of the band that playing the songs as they appear in order on the original record doesn’t work for a live show. So ten of the thirteen songs from Powertrip mark a celebration of the album instead of playing it from start to finish—and it worked beautifully. An extended version of “Space Lord” closed out the set in epic fashion, and the crowd responded accordingly.
VIA PRESS RELEASE | “Immense, electrifying, galvanizing, mesmerizing and still deeply strange, bending the formats of primal rock into all kind of weird and wonderful shapes…a set of such startling intensity it seemed to mock the very notion of nostalgia.”
—Neil McCormick, The Daily Telegraph
Legacy Recordings, a division of Sony Music Entertainment is proud to announce the release of Nick Mason’s Saucerful Of SecretsLive At The Roundhouse, an extraordinary all-new concert recording featuring an array of Pink Floyd classics rarely performed by the band during its lifetime. The 22-track collection arrives April 17 as a double-CD/DVD package, double-vinyl, and on Blu-ray; pre-orders are available now. Additionally, the band today shares the song/video for “Fearless” as an exclusive video trailer.
Also, in collaboration with Trafalgar Releasing and Sony Music Entertainment, Nick Mason’s Saucerful Of Secrets Live At The Roundhouse will be coming to cinemas in selected cities worldwide for one night only on March 10, 2020. This theatrical event will also include a pre-recorded cinema exclusive Q&A with Nick Mason and the band where they will answer questions submitted by fans. Tickets are on sale now from NickMasonFilm.com.
Nick Mason—founding drummer and the only constant member of Pink Floyd since their 1965 formation—united Gary Kemp (guitar, vocals), Guy Pratt (bass, vocals), Lee Harris (guitar), and Dom Beken (keyboards) as Nick Mason’s Saucerful Of Secrets in 2018, fueled in part by the desire to perform the legendary band’s pre-Dark Side of the Moon material, timeless songs which had not been played on stage in decades.
“My first experience with vinyl was as a young kid growing up in New Jersey. My parents had this record player in the living room that they would play all the time. My father was particularly into jazz, easy listening, and other popular music from the 1950s and ’60s. Artists like Frank Sinatra, Bobby Darin, Frankie Valli and the Four Seasons, and Dean Martin we’re always spinning on this record player. This might explain why this music grew on me later in life.”
“My mother, on the other hand, was from Poland. Her musical taste was all over the place. She loved Fleetwood Mac and Abba; she used to teach herself how to speak English by learning the words to the songs! She owned a lot of their music on vinyl as well as a ton of other stuff ranging from disco polo (a popular genre of dance music originating in Poland) to traditional American holiday music towards the end of the year. We got a lot of use out of that record player in my house for sure.
Fast forward to my early 20s and a long time since I had operated a record player, I found myself caught up in a huge Phish phase. The second time I saw them live at Randall’s Island in New York City, I wound up buying their album A Picture of Nectar on vinyl…with no way to play it…because I didn’t own and hadn’t owned a record player in years. I feel like this helped me to appreciate vinyl the way I do today though. By the time I got my hands on my own record player and listened to the album, it felt like I was hearing it for the first time again. The music had this warm and crispy yet delicate essence to it that filled the room in a way that brought me back to my parents’ house as a kid.
Sounding less like a bird of prey than a castrati with a gerbil up his ass, Geddy Lee is trying to tell us something. Xanadu, subdivisions, the spirit of radio, how we’re all trees in the forest and if you happen to be a stunted one you’re shit out of luck—your guess is as good as mine. The late Neil Peart, may he rest in peace, wrote ‘em, and your average 13-year-old with a unicorn glitter notebook would have rubbed his nose on the playground gravel.
Behind Geddy, prog-metal bric a brac: 2012’s ping-ponging title track (Rush isn’t a band, it’s a kid with attention deficit disorder) boasts seven parts including a grand finale, and is less a suite than a Frankenstein monster of ill-fitting parts. As for the band’s concept albums, Geddy himself has been quoted as saying, “Even I can’t make sense of them.”
Either you love Rush or you loathe ‘em, and I loathed ‘em up until the day I realized they were a comedy act. Now I love ‘em. Geddy cracks me up every time he opens his beak. “Closer to the Heart” is my all-time favorite song.
But there was an old Rush before the new Rush, and the old Rush can only be heard on the band’s 1974’s eponymous debut. With the soon-to-be-booted John Rutsey on skins, and nary a tedious 19-minute musico-philosophical discourse on Ayn Rand’s The Fountainhead in sight, everybody’s favorite Molson belchers made like Led Zeppelin on Beaver Tails, and while your critic types derided Rush as a turd hamburger, I like it cuz I’ll take good old-fashioned hard rock over mutant mullet metal any day.