The TVD Storefront

Graded on a Curve:
Bad Company,
Straight Shooter

Celebrating Simon Kirke on his 76th birthday.Ed.

Bad Company played meat and potatoes hard rock for the masses—they stripped things down to the fundamentals in a way that few other rock bands ever have, and the kids in the arenas loved them for it.

Austerity was their calling card; they made America’s Lynyrd Skynyrd—whose Ronnie Van Zant cited Rodgers as his biggest influence—sound like progressive rockers. They were a math problem every bit as simple as the Ramones, but without the zip. Bad Company steamrolled their way to the big time. They were every bit as remorseless as Killdozer, who paid them homage with their cover of “Good Lovin’ Gone Bad.”

Bad Company were formed in 1973 by former members of Free (vocalist Paul Rodgers and drummer Simon Kirke), Mott the Hoople (guitarist Mick Ralphs), and King Crimson (bassist Boz Burrell), which made them a supergroup I suppose, albeit a low-rent one. Or perhaps I say that simply because Bad Company never scored very high in the charisma department—they weren’t flamboyant, had zero flash, wit or lyrical ideas, and weren’t the types you’d find at Rodney Bingenheimer’s English Disco in Los Angeles. They may have called themselves Bad Company—and I could be dead wrong about this—but in my mind’s eye I see them going back to their hotel rooms after a show and brushing their teeth. Vigorously.

Their debut LP, 1974’s Bad Company, was their strongest. It boasted five classic cuts, and only one dead carp. Their next one, 1975’s Straight Shooter, had a killer A Side but a B side that kills the album’s forward momentum stone dead—the steamroller runs out of gas. It’s a primo example of the sophomore album curse, and also, I suspect, of a common guarantor of debut album follow-up failure—rushing into the studio too soon after recording the first one. Rodgers and Ralphs, the band’s primary songwriters, obviously lacked sufficient material to fill out the album, leaving them to serve up a clunker or two. Worse, they handed the ball off to Kirke—nobody’s idea of a songwriter—who contributed two tracks. They’re tepid tap water at best.

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The TVD Storefront

TVD Radar: Tangerine Records announces Ray Charles remaster series, Come Live With Me in stores 8/22

VIA PRESS RELEASE | “I never wanted to be famous, I only wanted to be great.”Ray Charles

Founded by Ray Charles in the 1960s, Tangerine Records is proud to celebrate the 17x GRAMMY® Award-winning singer, songwriter, and pianist’s singular legacy with the Tangerine Master Series, a new slate of reissues highlighting Charles’ best-known music alongside classic records long out of print, and ready for rediscovery. Each album in the series has been restored and remastered under the direct supervision of The Ray Charles Foundation, painting a vivid new portrait of an artist and icon whose impact continues to expand and inspire. Beginning Friday, August 22, with Come Live With Me, a blend of pop and gospel-infused soul that sees Charles demonstrating his unmatched versatility.

Remastered by 5x GRAMMY® Award-winning engineer Michael Graves and acclaimed vinyl mastering engineer Jeff Powell, this long-overdue reissue marks the album’s first appearance on vinyl in over 50 years. Vinyl and streaming arrive August 22, with CDs available September 26. Pre-orders and pre-saves are available now.

Come Live With Me showcases Ray Charles in full ’70s crossover mode, embracing string-laden arrangements, country-tinged ballads, and soulful soft rock. The album plays like Two Sides of a Saturday Night—elegant and introspective at the start, loose and electrifying by the end. Side A, arranged by longtime collaborator and conductor Sid Feller, highlights Charles’s emotive vocal delivery on lush, orchestrated ballads such as “Till There Was You” and the title track, the latter of which proved a Top 20 AC and Top 30 R&B favorite.

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The TVD Storefront

Graded on a Curve:
The Mountain Goats,
“Welcome to Passaic”

Who better than John Darnielle of The Mountain Goats to sing a final hymn to the recently deceased Ozzy Osbourne? All kinds of people are writing all kinds of wonderful things about the marvelously complex Osbourne, who proclaimed himself the “Prince of Darkness” while writing songs condemning the real article, but I’ve heard nothing better or more moving about Ozzy the man than the Mountain Goats’ 2019 song, “Passaic 1975.”

You might think the hyper-articulate and all-around nice guy Darnielle would be the last person to write the best all-time song about a guy who bit the head off a dead bat during a concert in 1982 and snorted ants a few years later to awe and appall the members of Mötley Crüe. Darnielle is not a metal guy. He’s as far from a metal guy as you can get and still be on the same planet.

And yet. Darnielle has always been a metal FAN, and a superfan of Black Sabbath; why, he actually sat down and wrote one of those little and normally quite dry (they’re published by Bloomsbury Academic, after all) 33 1/3 books about Black Sabbath’s 1971 tour de force Master of Reality.

But Darnielle’s little book is anything but dry, because being the novelist and consummate short-story-in-song kind of guy he is Darnielle wrote a goddamn NOVELLA about a kid who gets locked up for anti-social behavior and writes a journal addressed to his counselor Gary about how unfair it is he’s not allowed to listen to his Master of Reality tape, and who in the end is sent to another and far harsher institution after stealing the tape from safe-keeping and more or less daring Gary to report him, which Gary does. And in the course of this journal, he asks Gary to LISTEN to Master of Reality while explaining just WHY he loves Master of Reality so much, and it’s mighty fine as you can judge from his description of the opening of Master of Reality’s “Sweet Leaf”:

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A morning mix of news for the vinyl inclined

In rotation: 7/28/25

Austin, TX | Waterloo Records sets opening date for new location: The new store, located at 1105 N. Lamar Blvd., will open at the end of August. A date has been set for an iconic Austin record store to open the doors at its new location. Waterloo Records & Video will open at its new location at 1105 N Lamar Blvd. on Aug. 30, according to a report from the Austin Business Journal. The new location sits five blocks from the record store’s current location at 600 N. Lamar Blvd, which it will leave on Aug. 24. The new 10,000-square-foot storefront will offer 50% more space than the current store, allowing more room for larger events and shows. Increased parking spots will also be available. The new location will also bring new management, with current Waterloo owner John Kunz “passing the torch” to Gold Rush Vinyl CEO and founder Caren Kelleher and Armadillo Records CEO Trey Watson.

Hampton, NH | Vinyl lover spins lifelong passion into Wardtone Records in Hampton: Adam Ward has loved music and vinyl since he was 5, spinning his dad’s LPs on the family phonograph, singing along at the top of his lungs. He’s now channeling that lifelong passion into his newest venture—Wardtone Records—a shop set to celebrate its grand opening Aug. 1-2 at 835 Lafayette Road in Hampton with live performances and giveaways. The store offers a curated selection of new and vintage CDs, cassette tapes, with vinyl taking center stage. Ward, 43, said he spent 20 years working in finance, but his heart and side-gigs were always in the realm of music. Toying with the idea of opening a record store for years, Ward said he tested the waters at nearby Fox Run Mall with “pop-up” events, putting up a table and selling records and such. He also attended fairs and record shows. The result taught him something about himself.

Houston, TX | Vinal Edge celebrates 40 years spinning records in Houston: An iconic record store is celebrating 40 years spinning vinyl in Houston. Vinal Edge Records has been a go-to spot for music collectors since 1985, with one of the most diverse inventories of music in the city. The beloved record shop on 19th Street in the Heights carries everything from new to vintage vinyl, CDs, cassettes, stereo equipment and more. Owner Chuck Roast is a former radio DJ who first started selling records at punk rock shows in the 1980s, and eventually opened his own store. His love of music started at a young age. “I was lucky enough to have parents that has music around. We each had our own little suitcase record players and so we each immediately had our own record collections from the time I was a little kid,” said Roast. “And I discovered so many things that to this day I know carved my path musically.”

AU | Your Favourite Record Store Revealed: And the winner is… The Music’s search for Australia’s greatest record store is over! With six weeks of voting coming to a close, our readers have had their say, and the most popular stores from each state can now be revealed. Of course, everybody’s favourite record store is subjective…. the best store is the one you love. The real purpose of the exercise has been our journey across the weeks, being able to shine a light on what’s happening out there in the over 200 small stores we have uncovered, bringing tunes to loyal customers. Who wins is less important than the fun we’ve had profiling stores, finding out what punters are buying, shining a light on what’s challenging and of course celebrating the best bits of working in a record store. …Without any further ado, here are Australia’s favourite record stores for 2025.

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TVD Los Angeles

TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

Sous aucun prétexte / Je ne veux / Avoir de réflexes / Malheureux / Il faut que tu m’expliques / Un peu mieux / Comment te dire adieu

Mon cœur de silex / Vite prend feu / Ton cœur de pyrex / Résiste au feu / Je suis bien perplexe / Je ne veux / Me résoudre aux adieux

Je sais bien qu’un ex-amour n’a pas de chance, ou si peu / Mais pour moi un explication vaudrait mieux

Can you guess where I am?

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The TVD Storefront

TVD Radar: Michael Jackson, Dangerous
2LP audiophile reissue
in stores now

VIA PRESS RELEASE | Mobile Fidelity Sound Lab (MoFi), a leader in high-fidelity audio reissues, proudly announces the definitive audiophile reissue of “The King of Pop,” Michael Jackson’s groundbreaking 1991 album, Dangerous, is available now as both an 180g 33RPM 2LP Set (order here) and a Hybrid SACD (order here).

Dangerous marked a new direction for Michael Jackson, a strategy that paid off handsomely. The 1991 release debuted at No. 1 on the Billboard 200 and had sold over 25 million copies worldwide by September 1994, with global sales now nearing 40 million. This 14-song album features iconic hits such as “Black or White,” “In the Closet,” “Remember the Time,” “Jam,” “Heal the World,” and more.

Sourced from the original masters, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set presents Dangerous in audiophile-quality sound for the first time. Jackson’s signature vocals come across with incredible transparency and presence, along with the fullness of his range and the soaring heights of his falsetto. Listeners will also enjoy expansive soundstages, ample instrumental separation, black backgrounds, and broad dynamics.

MoFi’s numbered-edition hybrid SACD also presents Dangerous in audiophile-quality sound for the first time—sourced from the original masters and housed in mini-LP-style gatefold packaging.

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The TVD Storefront

TVD Radar: Max Romeo & The Upsetters, War
Ina Babylon
golden sunshine vinyl reissue
in stores 8/29

VIA PRESS RELEASE | Jackpot Records is extremely proud to announce our reissue of the revered reggae album 1976’s War Ina Babylon by Max Romeo & The Upsetters. Originally released on Island Records, the album is considered one of the greatest Reggae albums of all time and was a massive influence on the UK punk movement that was just starting to bubble to the surface.

The record’s incredible power belies an unlikely partnership between one of the world’s greatest producers (and experimenters in sound), Lee “Scratch” Perry, and vocalist Max Romeo (who by 1976 had performed on over 120 7” singles). Romeo had been transforming from his “rude” records to writing lyrics with social themes as the era in Jamaica was rife with poverty, gangs, and politically motivated killings. As he was looking to produce protest music at its most powerful alongside music that would never leave the listener’s souls, Lee Perry and Max Romeo started collaborating together.

Recorded in two weeks in 1976, utilizing Lee Perry’s kitchen sink production, War Ina Babylon is considered part of Lee Perry’s “holy trinity” of Black Ark-produced LPs released by Island Records (Junior Murvin’s Police and Thieves and The Heptones’ Party Time are the other classic LPs in the trinity). This LP continues to find new fans with every passing generation.

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The TVD Storefront

Graded on a Curve:
The Rolling Stones,
Exile on Main Street

Celebrating Mick Jagger in advance of his 82nd birthday tomorrow.Ed.

I’ve been down in the dumps of late; the suicide of a friend, the death of another friend I dearly loved, and a bad case of the blues have all pretty much brought me to my knees. I feel beat down, fucked over, and broken up, and life sure does have a way of tarnishing your eyelids, doesn’t it?

Where to turn in times like these? When you’ve got a foot in the grave and your head in the oven? Exile on Main Street, naturally. It’s as beat down an LP as ever you’ll hear; Mick, Keith and Company are torn and frayed and have shit on their shoes and the whole album sounds like it was recorded in a sub-basement of Hell.

And yet. The Rolling Stones’ 1972 bruised and battered masterpiece (and high-water mark) somehow manages to rise above the bad vibes and general miasma of death and dissolution that surrounded the band at the time. Nothing–not drug busts, the death of Brian Jones, Altamont, tax exile, or Keith Richards’ slide toward junkiedom–could stop the Stones from turning Exile on Main Street into a celebration of hope and soul survival.

And this despite the fact that the album is the aural equivalent of the La Brea tar pits. Mick Jagger has never stopped carping about Exile’s notoriously sludgy mix, but the murk doesn’t just work–it’s part and parcel of the double album’s greatness. You have to trudge through shit to get to the Promised Land, and if you scrape the shit off these songs, well, you find diamonds. “Turd on the Run” anyone?

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The TVD Storefront

TVD Radar: The
Podcast with Dylan Hundley, Episode 189: John Adams

I recently sat down with my old friend John Adams. John is an artist, songwriter, and filmmaker. I first knew him from his punk party band Banana Fish Zero, which was based here in NY. You all may know him more from his incredible work as a filmmaker with his family, Adams Family Films. They have made eight features since 2012 including 2021’s Hellbender which is also the name of the family’s super cool music project (spelled H6LLB6ND6R).

John was first inspired by bands like Black Flag that took him on a journey through punk with many bands and establishing himself and a benevolent master of chaos ceremonies. In 2008, he was cast in a Fuse Channel show called Rock and Roll Acid Test in a stuntman/maniac with a hammer role. This is what first brought the family out to California, where they started making their very distinctive films entirely on their own. Now they have become punk masters of horror.

I encourage you to go track down all his music, all Adams Family Films, and keep your eyes peeled for the next one currently making festival rounds, Mother of Flies, which is being distributed by Shudder Films in 2026.

Radar features discussions with artists and industry leaders who are creators and devotees of music and is produced by Dylan Hundley and The Vinyl District. Dylan Hundley is an artist and performer and the co-creator and lead singer of Lulu Lewis and all things at Darling Black. She co-curates and hosts Salon Lulu, a New York-based multidisciplinary performance series. She is also a cast member of the iconic New York film Metropolitan.

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The TVD Storefront

Graded on a Curve: Andrew Gold,
What’s Wrong with
This Picture?

It’s impossible to tell the story of Andrew Gold’s 1976 album What’s Wrong with This Picture? without first telling the story of how:

Death Came to the Princes of LA on a Horse Named Wildfire

Last night I dreamt I was soaking in a hot tub at Glenn Frey’s place in Laurel Canyon with Don Henley, J.D. Souther, Andrew Gold, and Jackson Browne. We were drinking tequila sunrises and talking past triumphs, our seventies chest hair glistening in the otherworldly light of the deadly wildfire that was roaring towards us.

We’d talked about jumping into our Porsches and making our escape, but in the end had decided to stick it out in the hot tub, outlaws with the voices of angels to the very end. The time seemed right. Down in Hollywood glam had been followed by punk, and both groups mocked our mellow vision with their sounds of sneering derision. The world, it seemed, had wearied of our brand of peaceful, easy LA fornication rock. It made fun of the way our turquoise chains perfectly set off our golden chest hair, made fun of our $9,000 Italian-made cowboy boots and our wonderful, beautiful, perfectly blow-dried man beards, made fun, believe it or not, of our entire way of life.

No, we’d decided this was it—California Narcissist Rock’s Last Stand.

So as the flames closed in, we reminisced and talked about what we’d miss. “The girls,” said Don Henley. “The cocaine on the girls,” said Glenn Frey. “My own unacknowledged supertalent,” said J.D. Souther. “My cloying sensitivity,” said Jackson Browne. “My beard, which is the Platonic ideal of Seventies’ LA facial hair,” said Andrew Gold. We all took a moment to admire Andrew’s Platonic Beard. Andrew was right. Andrew’s beard belonged in a beard museum, behind glass.

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A morning mix of news for the vinyl inclined

In rotation: 7/25/25

San Antonio, TX | Best Record Store: Batcave Vinyl. Vinyl enthusiasts aren’t afraid to dig for gold. Give ‘em a dimly lit shop cluttered with crates full of vintage releases, and most are happy to while away the time looking for elusive additions to their collections. Tucked into the cluster of specialty shops which make up the Alley on Bitters, Batcave Vinyl is just such a digger’s paradise. Now in its ninth year, the business offers an abundance of vintage vinyl going back to the 1930s. Two nuggets that stuck out on a recent visit were a pristine copy of the Dave Brubeck Quartet’s Jazz Impressions of Japan and a copy of the Scorpions’ Tokyo Tapes double-signed by the whole band. In addition to all that vinyl, owner Blaine Pendergraff also stocks CDs, DVDs, VHS tapes, used stereo equipment and such a dizzying array of memorabilia—from gig posters to signed drumheads—that it fills both the walls and the ceiling.

Santa Cruz, CA | Vinyl Destination: The Streetlight Records empire marks 50 years of music education. Since 1997, there has been a Streetlight Records in Santa Cruz. However, the history of the Streetlight chain goes back much further. One can tell by the profusion of 50th anniversary T-shirts now for sale—and by this weekend’s celebration, half a century after the original San Francisco shop opened in 1975. Robert Fallon started Streetlight Records in Noe Valley 50 years ago. A second San Francisco store opened on Market Street in the Castro four years later. The San Jose location emerged in 1981 and moved to a new location in 1992, followed by a Santa Cruz store in 1997. Those last two are now the only ones left. Though both San Francisco shops are long gone, veteran Streetlight folks still refer to the Noe Valley store as “The Mother Ship,” since it opened before there was any serious used vinyl industry of any sort. Thanks to San Jose and Santa Cruz, its legacy endures.

Essex, UK | Smokin’ Roses vintage shop opens in Saffron Walden: A new shop that sells vintage clothing and vinyl records has opened in Saffron Walden. Smokin’ Roses, in Rose and Crown Walk, aims to offer a completely different shopping experience for the town. An open evening was held on Friday, July 18, and was attended by more than 100 guests who enjoyed drinks and music while exploring the collection of vintage clothing and vinyl records. Smokin’ Roses is run by Jessica Harvey, who has co-founded the shop with Saffron Walden musician Elliot Porter. Jessica said: “The passion for vintage fashion is at the heart of what we do at Smokin’ Roses. “We believe that every piece tells a story, and our ethos of focusing on second-hand items is very important to us as well as embracing sustainable fashion.” …Jessica added: “There is something for everyone to find and love.”

Northwich, UK | The Doghouse vinyl record shop opening in Northwich: A new vinyl record shop is launching in Northwich and it already has a celebrity fan. The Doghouse, opening upstairs at the Salty Dog on High Street on Saturday, July 26, is the brainchild of Jason Davies, owner of Rare Vitamin Records, and a tireless promotor of locally grown musical talent. Partnering Jason in the venue is Paul Swinnerton, a Blackpool-based musician, record industry stalwart, and longtime friend of the Salty Dog’s owner, Chris Mundie. The shop will be the new headquarters of Rare Vitamin, and set above Northwich’s top music pub, there is scope to host all sorts of pop-up events and launches. To get the ball rolling, The Doghouse is throwing a launch party on Saturday, July 26, with well-known and up-and-coming local musicians at the decks.

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TVD Washington, DC

TVD Live: Iron & Wine and I’m With Her at Wolf Trap, 7/15

Looking like none other than history’s John Brown, with his long grey beard and wild hair, returning to Virginia to raise cane, the artist known as Iron & Wine actually has a smooth and intellectually frisky approach to his music.

In his fine show with I’m with Her on a steamy night at Wolf Trap, Sam Beam, who goes by the name Iron & Wine, brings a chamber folk backing to his striking songs. Instead of retribution, he brought a benediction to open with the repeated chorus of “God, give us love in the time that we have” from a 20-year-old song “On Your Wings.”

Religion would come up occasionally as he went along, but was overtaken by rural scenes and memory, singing of cornfield crows, baling wire, and autumn leaves. There’s a specificity in his songs, and unexpected philosophical turns. As such, there’s a playfulness, too, using a vocabulary unique in his particular realm of alt folk.

The sound was enhanced considerably by his band, with Beth Goodfellow’s tasty touch on drums, Katie Ernst on bass and backing vocals, Rob Burger on keyboards and Lauren Baba on violin. They all worked under some duress, due to the 80-degree temperatures after sunset with ample humidity. “You guys have to get your A.C. fixed, man,” Beam deadpanned.

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The TVD Storefront

TVD Radar: The Fall, Seminal Live yellow reissue in stores 9/5

VIA PRESS RELEASE | Beggars Arkive is happy to announce our reissue of The Fall’s 1989 half-studio/half-live album, Seminal Live, set for release on September 5th. Available on yellow vinyl and digitally, the album has been newly remastered by Kevin Vanbergen. This edition features reimagined artwork, new sleeve notes and a QR code linking to exclusive bonus assets.

Released by Beggars Banquet in June 1989, Seminal Live was the first of many live/semi-live/pseudo-live albums across The Fall’s catalog. Its release marks the end of the band’s prolific Beggars Banquet era (1984–1989). The albums that preceded Seminal Live via Beggars Banquet—The Wonderful and Frightening World Of, This Nation’s Saving Grace, Bend Sinister, The Frenz Experiment, and I Am Kurious Oranj are all considered pillars of the band’s extensive catalog.

The studio recordings on Seminal Live were all new songs and make up the first side of the album. The live recordings on side two, meanwhile, are all versions of previously-released tracks. Songs on Seminal Live are now considered Fall classics. Side one contains “Dead Beat Descendant,” and their cover of Lonnie Irving’s “Pinball Machine” is in the well-worn tradition of The Fall’s country covers.

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The TVD Storefront

TVD Radar: The Sound of Music 60th anniversary picture disc in stores 9/5

VIA PRESS RELEASE | Craft Recordings honors six decades of Rodgers & Hammerstein’s cinematic treasure The Sound of Music with the beloved soundtrack’s first-ever picture disc edition. Available to pre-order, prior to a September 5 release, the collectible 12-inch disc pairs the iconic 1965 cover art on side A with a whimsical “Lonely Goatherd” image on side B. The wide retail release will be joined by a Target-exclusive version that comes with a frame-worthy replica lyric sheet, faithfully reproduced from the Rodgers & Hammerstein archives for an added piece of musical history.

Since its March 1965 debut, The Sound of Music has become one of the most successful soundtracks ever—selling more than 20 million copies worldwide, spending a record 109 consecutive weeks in Billboard’s Top 10 (238 weeks overall) and ruling the UK Albums Chart for 70 weeks. The album carried unforgettable classics like “My Favorite Things,” “Edelweiss,” and “Do-Re-Mi” to global audiences and still inspires sing-alongs across generations.

On screen, the Robert Wise–directed film, starring Julie Andrews (Maria) and Christopher Plummer (Captain von Trapp), broke box-office records to become the highest-grossing movie of 1965 (ultimately earning over $280 million worldwide) and swept the 38th Academy Awards® with five Oscars—including Best Picture and Best Scoring of Music—plus multiple Golden Globe Awards®.

The movie’s initial US release lasted four-and-a-half years, and from 1966 to 1972, The Sound of Music was cited by Variety as the “All-Time Box Office Champion.” In 2001, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it “culturally, historically, or aesthetically significant.”

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The TVD Storefront

Graded on a Curve: Nazareth,
Hair of the Dog

Remembering Manny Charlton in advance of his birthdate tomorrow.Ed.

The Scottish clods o’ peat in this hard-working, hard-rocking man’s man band never won any originality awards, and weren’t exactly well-versed in the songwriting arts either, and given their high scunge factor, I doubt they’d even be allowed into the Rock and Roll Hall of Fame as paying customers, much less as inductees.

They’re not going to be inducted into baseball’s Hall of Fame anytime soon, either. Hell, they only hit two homers over the course of their long career, and their lifetime batting average is in the .233 range. Forget about Cooperstown; these guys would be lucky to earn a spot on the bench of the 1962 New York Mets.

But I’ll say this for ‘em–way back in 1975 every badass or wannabe badass in my home town was blaring Nazareth’s Hair of the Dog out of their car 8-track speakers, whether that car be a GTO or a rusted-out Ford Pinto. The title track–with its “Now you’re messin’ with a son of a bitch”–was a blast of pure unbridled belligerence and without a doubt the orneriest cut of the summer, hell the whole year probably. Alice Cooper may have put out “No More Mr. Nice Guy,” but that was play acting; Nazareth’s Dan McCafferty came on like the Real McCoy.

As for the album title, me and my buddies prided ourselves on knowing what it meant even though we’d never cracked a beer (much less suffered a hangover) in our lives–it made us feel adult, worldly even, just as that “Now you’re messin’ with a son of a bitch” made us feel tough, when in effect we were probably the wimpiest band of geeks to ever gingerly trod the halls of Littlestown High School, on the lookout for the real sons of bitches.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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