Talk about your impeccable resumes. Not only was Gene Clark a founding member of jangle rock pioneers The Byrds, he was also half of alt-country band Dillard & Clark and a great solo artist to boot. But not even this list of accomplishments could win Clark’s 1974 album No Other—which he considered his masterpiece—an audience. To be blunt, No Other was a flop, mainly because Asylum Records declined to promote the LP, both because they didn’t see any hits on it and because they were appalled by the time and cost it took to produce the record, which featured such notables as Chris Hillman, Jesse Ed Davis, Danny Kortchmar, Russ Kunkel, and Butch Trucks. Indeed, by 1976 Asylum had deleted No Other from its catalogue altogether.
It even took the critics a long while to realize that No Other—a lush, lovely, and even visionary work—was worth every dime and hour spent to make it. Clark—a psychedelic kinda guy who hung out with the likes of Dennis Hopper and David Carradine—was said to have ceased feeding his head when he composed the songs on No Other, but they’re spiritually deep nonetheless. They’re also disparate in terms of influence: this was no pure country rock LP, but an agglomeration of folk, country, rock, gospel, even R&B and funk. And to think it was initially intended to be a double LP, until Asylum head honcho David Geffen blanched at the $100,000 the project had already cost.
As I noted above, No Other has a deeply spiritual feel to it—it possesses the gravity of a work only possible by an artist who has opened his head and journeyed to the 5th Dimension, ultimately emerging wiser as he returned to our far more prosaic world. Which may sound like hippie bullshit, and may even be hippie bullshit, but I buy it, Clark’s fascination with Carlos Castaneda, Theosophy, and all. Far more ornate than his three previous solo records, due in part to his pairing with “spare no cost” producer Thomas Jefferson Kaye, No Other features lush and unusual arrangements; backup vocals from the likes of Clydie King, Claudia Lennear, Shirley Matthew, and Vanetta Fields, amongst others; and lots of overdubs.
Chicago, IL | ‘We’re going to make a great run at it’: Oak Park’s Val’s Halla Records to stay open, for now. After believing its days were numbered, Oak Park’s iconic Val’s Halla Records store has a new lease on life into 2020, with hopes the store can become financially viable by then. Store manager Shayne Blakeley confirmed the shop has been temporarily saved by River Forest resident and customer Trevor Toppen, who plans to lend his financial expertise to the business. “It’s pretty amazing,” Blakeley said. “I’m going to have a lot to be thankful for before I cut into any turkey. Things have been moving very fast.” Earlier this month, Blakeley announced the store had intended to close by the end of November after 47 years in business. At the time, he said Val’s Halla had its worst first quarter financially in 20 years, which appeared to be the final nail in its coffin. Toppen, who has lived in the area since 2003, got to know Val’s Halla and Blakeley when his son Jackson started volunteering at the store, and said he couldn’t pass up the opportunity to give the store a second chance.
Cork, IE | Cork’s famous vinyl record store back after Douglas village fire: The shop had been closed for 10 weeks following fire in Douglas Shopping centre. One of Cork’s best-known vinyl record stores – MusicZone – has reopened following a ten week absence due to the fire in Douglas Shopping Centre. The shop was forced to close its doors following the blaze in the Douglas Mall but it is now open for business again in its new location at Unit 4, Deanrock Business Park, Togher. MusicZone is one of Ireland’s largest stockists of vinyl records and they offer free delivery throughout the country on any order of three or more records. The business was set up by Ray O’Brien in 2001 and in a statement, he spoke of his delight at finally being able to welcome customers back to his store where he works alongside his son, Cormac. “So look here we are, 10 weeks since the night of the fire and it’s on, moving to the new location,” said O’Brien.
Wichita, KS | Vinyl is about to top CD sales, and Spin It Again Records has reopened to help: Only days after the Recording Industry Association of America announced that for the first time in more than three decades vinyl record sales likely will top CD sales this year, Spin It Again Records has reopened. The store has been closed since late August, but this week owner Ed Swarts reopened it in its new location at 3715 W. Douglas, which is two blocks east of West Street…The store sells new and used vinyl records, turntables, cleaning supplies and other related items and does minor related repairs. It also buys used records. Spin It Again Records will be open from 10 a.m. to 6 p.m. Tuesday through Saturday. Swarts says he’s not surprised vinyl sales are about to surpass CD sales. “The CD is just a thing of the past,” he says.
Liam Gallagher declares “ignorance is bliss” as he favours vinyl over Spotify: “I don’t think I’ve ever used Spotify once in my life. I don’t even know how to use it. I don’t have a clue” Liam Gallagher has admitted that he “doesn’t have a clue” when it comes to music streaming services and that he has no intention of ever using them. The former Oasis frontman says he much prefers to listen to vinyl than digital services such as Spotify. He told the Huffington Post: ”I stay away from that. I don’t think I’ve ever used Spotify once in my life and I don’t think I intend to either. I don’t even know how to use it. I don’t have a clue. ”Part of it is, ignorance is bliss. All these new ways to listen to music have gone way over my head, and I’m quite happy with it. Call it that I’m stuck in the ’90s. I listen to tunes on the record player.”
(In good faith) Rocks are buried beneath tons of earth / To become diamond / (In good faith) With the gift of the sunlight / The kudzu vine goes climbing / (In good faith) Instruments play songs / Brought forth from the minds of their makers / (In good faith) These vibrations resound / Bringing union and joy to all takers
(In good faith) We open our eyes / To a parade of first morning’s breaking / (In good faith) We pray what we see and we hear / Might be ours for the taking / (In good faith) We rise every day / And we will ’till our golden star bursts / (In good faith) We open our hearts / And say, “Lord, do your best, do your worst”
Shortly after last week’s Idelic Hour posted, I started thinking about my year-end list. After all, this is the end of the second decade of the second millennium! Not only do we need a year-end list for this end of the decade, but we need an end of the decade list. Wow!
I guess I have a little time to gather my thoughts about 2019. This last decade…wow…IT’S A LOT TO CHEW ON! I better start now.
First thought: So much has changed since the dawn of this decade when I started posting and doing this online radio show. I guess the greatest gift of the whole experience has been to share music. Sometimes I do give a fuck who is paying attention, and THANK YOU because so many of you have. The act of sharing music is part of who I am, and this is the week I’m on my annual journey, flipping through my music files (the record crates in my mind), compiling and organizing my favorite songs released this year. I’ve noticed in past years I’ve seemed to average about 60-80 artists and/or songs that have made the year…
VIA PRESS RELEASE | Falling in the middle of their 2019 fall tour, this September marked the 20th Anniversary of award-winning Colorado bluegrass band, Yonder Mountain String Band’s critically acclaimed debut album, Elevation.
Out of print for years and considered by decades-long fans to be the band’s career-defining album, it only seemed natural for YMSB to celebrate this milestone with a 20th-anniversary 180g double vinyl re-release. Originally released on the band’s own independent Frog Pad Records, Elevation features founding members Dave Johnston, Ben Kaufmann, Adam Aijala, and Jeff Austin, along with guest musicians Mike Marshall, Darol Anger, Sally Van Meter, and Celeste Krenz. The 20th Anniversary release of Elevation is available now in limited quantities at the merch table and online.
Elevation producer Sally Van Meter shared some of her heartfelt thoughts on the creation and legacy of Elevation and what it meant to the greater acoustic music community: “Twenty years ago, over a good meal and margaritas, a pivotal moment in acoustic music transpired and forever changed the face of acoustic and bluegrass music. That moment was the agreement to produce Yonder Mountain String Band’s first studio recording, Elevation.
YMSB’s Elevation broke past traditional bluegrass music boundaries, opening the door for acceptance of the next generation’s take on a new style that audiences would fully embrace. YMSB had something special about what they played, and how they played it. Their songs showed that it was not just jamgrass party time. No matter what they played, they did it with a full musical heart—both familiar and new concert attendees fell in love with them. Young and old listeners together could feel that this first recording was a wind-direction change in acoustic music that had not been felt possibly since the ’70s with Tony Rice and David Grisman.
The Independent Minded podcast features conversations with indie artists in the music and entertainment business.
Pop culture legends “Weird Al” Yankovic and Henry Rollins, indie icons CAKE, Gogol Bordello and Mike Doughty, and up-and-coming indie artists The Districts and Vagabon talk about their experiences in the business, their inspirations and passions, and their recent projects.
The podcast is hosted by Ron Scalzo, an indie musician and radio producer with 9 self-released albums and an independent record label of his own, Bald Freak Music.
Episode 107 features Scotland indie rock band the Trashcan Sinatras. Paul and John talk about revisiting old songs, shredding, working within limitations, overlooking Radiohead.
PHOTO COURTESY OF THE FRED ROGERS COMPANY | Yes, we are tough, we are girded against an unforgiving world, the headlines make us quake each day and now winter is coming. But, oh my gosh, the tinkly piano and reassuring voice of Fred Rogers will make you melt all over again, be you tattooed metal head or cynical indie rocker. We at TVD are only too happy to make your day, save your week, instill one tiny fiber of hope with the premiere of “Many Ways to Say I Love You” from Mister Rogers.
It’s a vinyl-only bonus track from a new vinyl version of It’s Such a Good Feeling: The Best of Mister Rogers. The Omnivore Recordings CD/digital version came out in October, well in advance of the big Tom Hanks movie A Beautiful Day in the Neighborhood that will be released November 22.
But on that same day, a translucent cardigan-red vinyl version of It’s Such a Good Feeling comes out, exclusively at Barnes & Noble, with two extra tracks not on the CD/digital version. That one of them is “Many Ways to Say I Love You” makes you instantly think: How could they have left it off in the first place? How would we otherwise hear of the cooking way to say I love you? The eating way? The cleaning way? The drawing way? Mister Rogers had a way to stick it right to your heart, in a sincere and kindly, totally non-cynical way—a trolley train express right back to your childhood.
As a proud member of the proud class of ‘76, I am prepared to state that the collection of bong hits contained within constitutes one of the finest film soundtracks in the history of mankind. Dazed and Confused is the Citizen Kane of stoner films, and if today’s Millennials with their hippity-hoppity music don’t get it, well, let them eat Drake.
The soundtrack to 1993’s Dazed and Confused is a time capsule of sorts–a fond backwards glance to a golden age of 8-tracks, GTOs and Kiss. Every single one of these songs is imprinted in my DNA–had I sired a kid, his first words would have been, “Rock and roll, hoochie koo.”
Director Richard Linklater could have gone the hipster route and padded the soundtrack with songs by the New York Dolls, the Stooges or even the Velvet Underground. But that would have been missing the point. It was the rare small-town kid who listened to such bands, or even heard of them for that matter.
A case in point: during the summer of 1976 my older brother and I spent $1.99 on a variety store cut-out bin 8-track of 1969: The Velvet Underground Live. I don’t understand why we bought it–we’d never ever heard of them, or Lou Reed even. Anyway, we listened to a sing or two the way home, and promptly backed over it with dad’s car. It’s probably lying on the side of the road somewhere.
San Diego, CA | Vinyl creates experiences that never die: On Adams Avenue, nestled between a gelato shop and a cafe, you’ll find Ruthie Bible sitting on a stool behind a cash register in a skinny storefront shop, watching over hundreds of vinyl records. She’s been at this post for 35 years, observing and listening, as customers come and go. Bible, who is in her seventies, is the co-owner of Nickelodeon Records, a Normal Heights establishment that has become a San Diego institution. The small record store opened in 1984 but has since been garnering attention from younger generations looking to visit and snap a few pics among the rows of records and with the backdrop of decades of music history behind them. “Their behavior is totally different,” Bible said about the record store’s younger visitors. “They really like (the shop) and it’s cool and everything, but it’s like a little museum to them. They like to come and take pictures and leave.”
Redditch, UK| Vintage stuff as two new shops open in a forgotten corner of the centre: Two new independent shops are to open in Redditch town centre – breathing new life into a neglected spot behind the Post Office and Debenhams. And with the backing of the Borough Council, they hope to help Rejuvenate Redditch by organising a variety of events in the unused covered area in the coming months. Exactly six years to the day since opening in the Kingfisher Centre as a pop up shop, retro record specialists, Vintage Trax is returning to town with a second vinyl record and CD shop, while retaining its popular Headless Cross store. Opening alongside at the same time is Vintage Threads, offering ladies and mens vintage clothing, footwear and accessories, as well as repairs and alterations. Owner, Helen Truman, is a seasoned fashion trader having worked at the Regal, a well known psychedelic clothing shop in Soho in the 1980s, and over 20 years later opened a retro fashion shop at Winyates Barn, Redditch. “It’s an exciting time for both of us,” said Ros Sidaway, owner of Vintage Trax.
Pittsburgh, PA | Introducing Pittsburgh Record Label Roundup: The diverse and plentiful selection of the city’s record labels: No matter how ingrained you are in the Pittsburgh music scene, you still might not know just how many record labels are operating locally. Many of them fly under the radar, but they’re worth knowing. Check out the first three features in our new Pittsburgh Record Label Roundup… When Montgomery was promoting his debut album, Driving While Black in 2016, he noticed that people were buying the merchandise before even hearing the songs. “Seeing how invested people were in the brand made me realize that I could create a platform for both myself and other artists,” he says. Montgomery felt that there was a plethora of great talent in Pittsburgh, but a dearth of opportunities to help artists further their careers. So he created Driving While Black Records (DWB) to help build an infrastructure for artists in the city. DWB prides itself on showing what can happen when a group of like-minded individuals come together to create opportunities for themselves.
Noel Fielding Is Making a Netflix Show About a Magical Record Player: Noel Fielding has spent recent years offering up some conservatively colourful outfits as the co-host of The Great British Bake-Off, but he’ll soon return to his strange comedy roots. After all, he’s currently at work on a new Netflix series. In a recent appearance on BBC 6 Music [via Chortle], Fielding explained that he’s working on the early development stages of his new show, which is a musical comedy with some signature Noel weirdness. “Basically a guy gets hold of a magic record player and when you put the record player on a portal appears and you can go inside your favourite albums,” Fielding explained. That said, don’t expect it to be complete too soon. “I haven’t written it yet,” he admitted. “I pitched it and Netflix liked it and we’re making it, but I haven’t started writing it yet. So that’s my next thing.”
He’s been a popular detective novelist, a singer, a columnist, Peace Corps volunteer, animal rescuer, and a politician. He played at the Grand Ole Opry, Saturday Night Live, and the Rolling Thunder Revue. He’s the only performer in 45 years to record an episode of Austin City Limits that was never aired. And he won 12.6 percent of the vote when he ran for Governor of Texas in 2006.
Kinky Friedman is back on the road and playing music, with the latest of a revived recording career and a new album that’s in the Americana Top 10. In a typically laconic solo show at the Pearl Street Warehouse in Washington, DC on Thursday, days after he turned 75, he placed himself in the tradition of Ramblin’ Jack Elliott, with wisecracks out of Mark Twain (he fiddled with a cigar that he never lit indoors).
That notion probably comes from starting with Woody Guthrie’s “Pretty Boy Floyd,” a populist Robin Hood anthem, that begins with the invitation, “If you’ll gather ‘round me, children, a story I will tell..” That’s the same way another staple of his set began, Peter LaFarge’s “The Ballad of Ira Hayes,” another song about social import about a Pima Indian who became a forgotten World War II hero.
More often in his show—and what the dozens of people came to see—were his randy little ditties like “Waitret, Please Waitret” (“come sit on my fate” is its written lyric) or his flirty song of archeology, “Homo Erectus.” And it wouldn’t be a Kinky concert without his “Asshole from El Paso,” Chinga Chavin’s inversion of Merle Haggard’s “Okie from Muskogee.”
VIA PRESS RELEASE | Craft Recordings is delighted to announce the debut vinyl release of Natalie Cole’s bestselling, 1994 holiday album, Holly & Ivy. Holly & Ivy has been remastered by George Horn and Anne-Marie Suenram at Fantasy Studios and pressed on 180-gram vinyl at RTI. This year marks the 25th anniversary of the acclaimed album—which was the first of several holiday outings in Cole’s career.
Cole was inspired to record Holly & Ivy after a call from longtime friend and prolific songwriter Michael Masser. Collaborating with the legendary lyricist Gerry Goffin, Masser had written an original holiday song entitled “No More Blue Christmas” with the singer in mind. From there, Cole decided to make an entire album of Christmas music, following in the footsteps of her father—singer Nat King Cole—whose LP, The Magic of Christmas, was the top-selling holiday title of the 1960s, and whose rendition of “The Christmas Song (Chestnuts Roasting on an Open Fire)” is one of the most famous yuletide recordings in history.
Co-Produced by Tommy LiPuma, Holly & Ivy offers an R&B twist on holiday favorites and features several songs which Cole’s father had made popular decades before, including “Caroling, Caroling,” “The Little Boy that Santa Claus Forgot,” and, of course, “The Christmas Song (Chestnuts Roasting on an Open Fire).” Also of note is an exuberant, gospel rendition of “Joy to the World,” featuring the choir from the Los Angeles Friendly Baptist Church, as well as Cole’s take on the bluesy “Merry Christmas Baby.” Accompanying the singer are a host of talented players—jazz pianist Cedar Walton, drummer Harold Jones, and R&B artist Patrice Rushen on keyboards—among them.
“I am 55 now, I discovered music when I was six-years-old (in 1970), on my parents’ turntable, thanks to my older brother who was crazy about music.
The first record that amazed me was Tommy by The Who. I was really young, I didn’t know about the movie directed by Ken Russel, but I was fascinated by this record. I was playing it all the time, holding the cover in my hands. This music was telling me stories, my imagination was transported each time. I couldn’t understand the lyrics (I am French), but these songs were talking to me. “See me, Feel me, Touch me, Heal me.” I was asking my brother what it was about, he was saying, “That’s the story of a boy who becomes deaf, dumb and blind.” I was asking, “Who is Uncle Ernie ?,” etc etc.
Tommy was my friend.
At this time, my brother’s vinyl collection was going from The Rolling Stones to Yes (Tales of Topographic Oceans). I was stuck between rock music and progressive rock.
From the age of 6 to 12, I was spending my free time in the family living room, sitting in front of the turntable, playing vinyl, side A, side B, side A again, side B again.
These vinyl were my friends, I loved them.
Then came the time to go on my own to a record store (in a small town located in the North of France) and buy my first vinyl album. This one happened to be Made In Japan by Deep Purple. This record was on fire (it still is)!
Riding on a magic carpet composed of crisp beats and dusty samples, Prismatic Mantis has arrived with a brand new single that is sure to provide a sonic fix for all those beat junkies out there.
“Return to Sender” is the latest sonic vision from the multi-instrumentalist / producer Mark Reynolds whose progressive moniker, Prismatic Mantis, has managed a steady output of flickering downtempo electronica since 2008.
Coming off as a slightly left-of-center fusion rock version of Flying Lotus, Mantis’ work doesn’t endeavor to break new ground as much as it nods back to the experimental, crate digging production of the early ’90s, infusing those delicate beats with deep spiritual undertones.
The single will arrive in stores this Friday, and will be available through all the major platforms.
Part two of the TVD Record Store Club’s look at the new and reissued releases presently in stores for November, 2019. Part one is here.
NEW RELEASE PICKS: Fea,No Novelties (Blackheart) Hailing from San Antonio, TX, Fea is Latina punk with ties highlighting the band’s relationship to the style’s classicism; specifically, No Novelties is released on Joan Jett’s label with production by Alice Bag (Iggy Pop is also a fan). The music has been compared to Bikini Kill and The Gossip, and yeah, as this LP unwinds it does implant into the brain a similarity to the gal side of the ’90s-’00s Kill Rock Stars shebang (Riot Grrl central, essentially), but Fea has also been likened to Priests, which is nice shorthand in expressing that the band effectively carries this sound and screamingly relevant perspective into the present rather than just delivering a carbon copy. For example, Fea’s music is bilingual, and that’s fucking great. “Pelo Suelto” kicks major ass. A-
Juliana Hatfield,Sings The Police (American Laundromat) Although I do like some of their songs, mostly early stuff, I’ve no special esteem for The Police. In fact, in my personal hierarchy, I value Juliana Hatfield a whole lot more, in part because Blake Babies were an often-terrific band. So, you might think this tribute project (obviously, she holds a much higher opinion of The Police) would be somewhat up my alley. But I’ll confess that tributes of this stripe only pull my chain on occasion; I mean, I’ve yet to even listen to Hatfield’s prior set doffing the hat to Olivia Newton-John. But that’s also because my interest in ON-J is basically nil. What can I say, I can be a fickle motherfucker sometimes. All this didn’t bode particularly well for this album of interpretations of tunes by Sting, Summers and Copeland.
Well, Hatfield emerges creatively victorious, for a variety of reasons. First off, her long-extant likability has diminished not even a little. She’s in strong voice and is clearly engaged with the concept (as she should be, as she initiated it), but Hatfield also plays nearly everything herself, which works in relation to a production style that is both stripped-down and vivid. The way her tough guitar sound mingles with the choice of occasionally rudimentary drum programming and additional modest tech is also a plus. All this counteracts a frequent problem with The Police’s later stuff, which is that even when the songs were okay (or a little better) the whole ultimately reeked like bags of money. In contrast, Hatfield’s Sings the Police registers as an act of love thriving on inspiration rather than inflated or propped up by cash.
We’re nearer to the spirit of The Police’s initial handful of singles and Outlandos d’Amour, and that’s swell. Other smart decisions: Hatfield stays fairly close structurally to the sturdier of the band’s songs (like “Can’t Stand Losing You” and “De Do Do Do, De Da Da Da”) while giving others a punky kick in the pants (“Murder By Numbers”). She also doesn’t simply up the reggae quotient, which would frankly be a pretty lazy thing to do. But maybe her most unlikely achievements are in revitalizing overplayed warhorses “Roxanne” (a true highlight here) and “Every Breath You Take,” and back-to-back, even. Amongst all this success, I can even forgive a few spots that remind me of Sheryl Crow. Hey, maybe I should check out that Newton-John thing after all. A-
Can Vinyl Save the Music Industry? Gen X, Gen Z and millennials are all buying into the vinyl hype, as sales increase steadily. In a time when most music is almost free and at your fingertips, however, will LPs play long enough to bring the music industry back in tune? …RIAA data shows that 25-to-34-year-olds and 18-to-24-year-olds accounted for 19 and 16 per cent respectively of U.S. new vinyl sales in 2018. This is valuable to artists who are not being paid what they’d like to be on streaming services. For artists, selling other merchandise has become increasingly important. Luckily for them, some fans are willing to pay for exclusive merchandise and experiences on crowdfunding platforms. A 2013 Indiegogo campaign for the Canadian band Protest The Hero raised nearly $450,000 to fund an album and 1,299 copies of the signed, limited-edition vinyl LP were claimed as rewards. Katy Perry has a vinyl record coming out soon. It’s a record-first release but her truest “Katy Cats” will surely snatch up those 4,000 copies to hold a piece of their favourite artist in their hands.
Long Beach, CA | Long Beach record store and marijuana dispensary partner to host free concert: The dispensary ShowGrow, which has a business location in Long Beach, partnered with local record store Analog Records on Nov. 9 to host Cozy Sesh 7, a free concert that gave cannabis businesses the opportunity to share information about the recreational marijuana industry with community members. This is the seventh Cozy Sesh event Analog Records has held. The events are free, but attendees have to register online beforehand and space is limited. The featured performers for Cozy Sesh 7 were the musician Cherokee and the group Capyac, who performed on a stage in Analog Record’s parking lot. Throughout the day, disc jockeys also provided music both in the parking lot and the store itself. Cherokee is a French musician signed to the label Roche Musique. His music belongs to the genre French touch, according to Roche Musique’s website.
Detroit, MI | The Detroit roots of hip-hop label Fat Beats run deep: In the early ’90s, hip-hop wasn’t the mainstream cultural behemoth it is today. Back then, hip-hop was still largely a non-commercial art form found in Black and brown communities in cities across the United States. Founded in 1994 by Joe Abajian (aka DJ Jab) in New York City, Fat Beats was a record store that brought these communities together — and quickly became a nerve center for all things hip-hop. Originally located on Manhattan’s lower east side, Fat Beats has played an enormous role in celebrating hip-hop culture in its purest form for the last 25 years. Throughout the ’90s and 2000s, Fat Beats was where you went to cop the latest must-have 12-inch single, chat with fellow hip-hop heads, and catch legendary in-store performances from artists such as Black Star, Organized Konfusion, Outkast, and Common. As the business got going, it didn’t take long for Fat Beats to establish itself as a distribution company and, eventually, a record label. At its height, Fat Beats also had storefronts in Los Angeles, Atlanta, Amsterdam, and Tokyo.
St Petersburg, FL | Daddy Kool Records to join The Factory St. Pete in 2020: Do you love Daddy Kool? Of course you do. We all do. The music hub had long been a staple on the 600 Block before moving to a larger space in the Warehouse Arts District. The record store hosts monthly night markets, live music, and is home to one of the most expansive record collections in all of Tampa Bay. So it makes sense that in 2020 it would join The Factory, a sprawling immersive arts, entertainment, food + drink (and snacks from OrganicCBDNugs) concept. Like we said before, if you’re not following The Factory on Facebook and Instagram, you should change that ASAP. The massive creative destination in the Warehouse Arts District of St. Petersburg is already set to house Fairgrounds, an artist created immersive experience. Residents got a taste of what they can expect from the 12,000-square-foot experimental art exhibit with a live mermaid show at the SHINE finale. Additional concepts such as the eclectic coffee/art/music hub Black Crow Coffee will also open at The Factory next year.
PHOTOS: RICHIE DOWNS | From the big sound that comes from The New Pornographers you’d almost expect more people on stage. But just eight were there Wednesday at the Lincoln Theatre in Washington DC, covering songs from eight different albums before a happy, largely seated audience.
It was the rare second day in the city to satisfy demand. Even more rare was that they were inside a theater rather than a big nightclub. “In 15 years I don’t think we’ve ever not played the 9:30 Club,” frontman Carl Newman said. It was such a topsy-turvy thing, he sang a line from “Yorktown (The World Turned Upside Down)” from “Hamilton,” perhaps inspired by being in the Nation’s Capital an extra day. But in doing a second night’s show, though, they were determined to present a different show than the night before. “It’s only polite,” said Newman, ever the Canadian.
So people didn’t hear the new “Leather on the Seat” from their new album In the Morse Code of Brake Lights. Instead of “Dancehall Domine” from Brill Bruisers they played “You Tell Me Where”; two things were heard from Challengers including the title track that they hadn’t played the night before; they did a rare “Use It” but not “Stacked Crooked” from Twin Cinema. Further, “Avalanche Alley” instead of “High Ticket Attractions” from Whiteout Conditions; and “Sweet Talk, Sweet Talk” instead of “Crash Years” from Together.
It couldn’t have been too easy; these are intricate pop creations with lots of parts presumably needing lots of practice—they don’t just bang out anything. But it all sounded pretty darn glorious and they kept in enough favorites to rally fans from any of its eras (for me, it was “Singing Spanish Techno”).