The TVD Storefront

Graded on a Curve:
The Jean-Paul Sartre Experience, I Like Rain: The Story of The Jean-Paul Sartre Experience

Formed in 1984, The Jean-Paul Sartre Experience thrived as part of the second generation of Kiwi bands on Flying Nun, a label standing as one of New Zealand’s finest cultural exports. Between ’86 and ’93 The JPS Experience (their most excellent name litigiously foreshortened by Mr. Sartre’s estate; hell is other people, indeed) completed three distinct full-lengths that chart a progression from the bedroom to a stab at the big time. 

Arriving a little later in Flying Nun narrative, The Jean-Paul Sartre Experience never got the props routinely paid to core acts The Clean, The Chills, The Verlaines, and Tall Dwarfs. Extant for a decade, they initially consisted of Dave Yetton on bass and vocals, Gary Sullivan on drums, and Dave Mulcahy on guitar; Jim Laing added his six-string soon after. Informal jamming led JPSE to more structured practice sessions and then self-recording.

“Masked and Taped” was the group’s inaugural hiss-laden cassette demo of ‘85, placed in dog food tins (yup) and sold on consignment through indie shops; it was reissued on tape by Flying Nun in ’93. Its contents are intriguing, “Waste of Time” immersed in downtrodden rainy day sensitivity as the folky title cut recalls countrymen The Bats and predicts The Mountain Goats.

A pop inclination shines brightly on “Peaches and Cream” as “Suzi Lustlady” possesses a twist of neo-psych (think Robyn Hitchcock) and “Fatness” is a modest lump of acoustic, music-hall-esque eccentricity. “Fly” is the sole entry dating from 1987, with programmed rhythms helping to situate it as a proposition of its era.

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A morning mix of news for the vinyl inclined

In rotation: 6/11/25

The Death of Physical Media and Its Brewing Renewal: How a generation raised on streaming seeks comfort in the rituals of media ownership. The era of streaming services fundamentally killed the production of physical media, but over the past five years, a new era has been brewing on the vinyl shelves of trendy city neighborhoods. Ten DVDs sit on my shelves. They’ve been arranged together in the same fashion for 19 years, surviving five moves and preserving 126 episodes of The Simpsons first ten seasons—all of which I’ve memorized by now. My parents were against cable, upset with the grueling stream of advertisements. So, for the first nine years of my life, those ten discs—looped on our trusty Xbox 360—were my only television. …While ownership is a contested concept across cultures, it has fundamentally shaped American expansionism and the “American Dream,” with the country’s earliest votes afforded only to land–owning men. Land ownership, property ownership, consumerism of goods and media all trace the same throughline: they make the physical personal.

Spring Hill, FL | Rock-It Records in Spring Hill is drawing all ages to its old-school vinyl paradise: You want Taylor Swift? They have her. You want heavy metal? They have that, too. Whether you’re a metalhead, a jazz buff or an unabashed Swiftie, the new Rock-It Records in Spring Hill has your tasty tunes in stock. Owned by the music-loving husband-and-wife team of Joe and Pam Rooney, this is an old-school-cool record shop with lots of vinyl, CDs, memorabilia and more. They’ll even be hosting in-store record signings just like they did in the good old days. “I grew up in Massachusetts record-shopping with my cousin,” said Joe, who also fronted the metal band First Born. “And I just wanted to bring it back. I wanted to do it, man.” Oh, he’s doing it alright. Rock-It Records, located at 10480 Northcliffe Blvd in Spring Hill, is like a warm, nostalgic hug, although some of the most loyal customers are kids. “They’re really into the whole record-buying thing,” Joe said. “They come in alone, they come in with their parents, it’s a family thing. It’s great.”

Edinburgh, UK | Dog-friendly record store and coffee lounge announces plans to open on Leith Walk this month: A new record lounge has said that it will open its doors to members of the public this month – and four-legged friends are welcome too. Lounge 33 plans to open on Leith Walk, offering customers a space to drink coffee, but also to listen to vinyl and shop for records too. The lounge has said that it wants to reflect the local community and city and plans to work with local charities and community groups as they develop. As part of these plans, the record store has already partnered with a Scottish dog rescue charity. Posting online, Lounge 33 said: “At Lounge 33, your four-legged friends are always welcome, and we’re thrilled to announce our new charity partnership with Staffie Smiles Rescue. “This incredible local charity rescues Staffies and Staffie crosses in need, offering them a second chance at life. “From rehoming to lifelong foster care for older or terminally ill pups, they do it all with love – and we’re here to help support their mission.”

‘Paradise Records’ Review: Rapper Logic’s Anarchic Stoner Hangout Movie Brings Jay And Silent Bob Out Of Retirement. American rapper Logic was born the year Richard Linklater’s Slacker came out, and, at the age of four, was thus unlikely to catch Kevin Smith’s Clerks when Miramax first released it back in 1994. Nevertheless, though the director cites Sidney Lumet’s Dog Day Afternoon as a prime source of inspiration, those two lowest-of-the-early-’90s-lo-fi films—with a dash of Quentin Tarantino’s Pulp Fiction too—are a much more apt comparison for his directing debut, a hangout movie set in a failing record store in the Greater Portland area. The store is run by Cooper (Logic), who—in a surprise move for a rapper in a film that he wrote for himself to star in—is anything but cool, a Napoleon Dynamite lookalike who probably gives away more than he sells, as evidenced when he gives a J. Dilla record to a toddler, simply because his pretty mom smiles at him.

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The TVD Storefront

TVD Radar: Queens
of the Stone Age, Alive
In The Catacombs
in stores 8/22

VIA PRESS RELEASE | By popular demand, Queens of the Stone Age are releasing the audio of their spellbinding Alive in the Catacombs performance. The music arrived Friday the 13th across all digital platforms via Matador Records.

The band has also announced a limited vinyl edition of the AITC audio. Only 5,000 copies will be pressed of this special one-sided vinyl edition. Housed in a gatefold jacket with foil print inside and out, the AITC vinyl edition contains an exclusive 24-page booklet of behind-the-scenes photos taken by long-time collaborator Andreas Neumann. Each copy will be individually stamped and numbered. Pre-orders are available now at qotsa.com for a release date of August 22nd.

The AITC film and subsequent audio release is QOTSA distilled down to their most elemental form—Joshua Homme, Troy Van Leeuwen, Michael Shuman, Dean Fertita, and Jon Theodore augmented by a three-piece string section, employing chains and chopsticks as makeshift percussion instruments. Entirely unfiltered, as every song was recorded live in a complete take with no overdubs or edits. The audio was recorded by Mark Rankin, François-Xavier Delaby, Henri d’Armancourt and Alban Lejeune, and was produced by Mark Rankin. Final mixes by Mark Rankin, Joshua Homme, and Michael Shuman.

Queens of the Stone Age: Alive in the Catacombs was released on June 5th to much anticipation and critical acclaim. The film and accompanying behind-the-scenes documentary, Alive in Paris and Before, are available for purchase at qotsa.com. Queens of the Stone Age: Alive in the Catacombs was produced by La Blogothèque and directed by Thomas Rames. It was filmed and recorded in July 2024 in Paris, France.

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The TVD Storefront

TVD Radar: Deep Purple, Rapture of the Deep 20th anniversary expanded 3LP reissue in stores 8/29

VIA PRESS RELEASE | Deep Purple’s Rapture of the Deep turns 20—and it’s celebrated with a complete remix and remaster, striking new artwork, plus a bonus CD/LP featuring never-before-released recordings.

It’s no secret that Rapture of the Deep isn’t the first album that comes to mind when listing Deep Purple’s classics—and while it was met with interest at the time, it gradually faded from view. Despite solid sales, the album arrived during a period when there was little spotlight on the world of classic rock, and over the years, Rapture of the Deep developed into an overlooked chapter in Deep Purple’s rich discography.

It’s equally true that this record, and the story behind it, marked a turning point—the quiet beginning of a run that would eventually lead to four consecutive No. 1 albums (2013, 2017, 2020, 2024) and the kind of success few bands experience even once, let alone decades into their career.

New insights by Kerrang! founder and Classic Rock magazine writer Geoff Barton pulls back the curtain on a time when Deep Purple were navigating an uncertain era in the music industry that saw the downfall of many once-great artist careers, and unravels the strange chemistry that gave birth to Deep Purple’s 18th studio album.

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The TVD Storefront

Graded on a Curve:
Sly & The Family Stone, There’s a Riot Goin’ On

Remembering Sly Stone.Ed.

By 1970, Sly Stone was no longer his happy-go-lucky, upbeat-hits-producing self. Stone and his band had taken to ingesting large quantities of cocaine and PCP, a paranoia-inducing combo if ever there was one, and Sly’s own intake was such that he carried his stash in a violin case. The results were predictable. Sly went from multi-racial inspiration to Richard Nixon-level paranoiac, and hired shady characters, gangsters, and even a Mafioso as a Praetorian Guard to keep an eye on his “enemies,” some of whom happened to be members of The Family Stone. Recording came to a standstill, and Stone began his infamous habit of missing gigs.

When Stone finally dragged his bad self into the Record Plant in Sausalito to record the band’s fifth album, the results were completely unlike any previous Family Stone release. What is surprising, given Stone’s precipitous psychic decline, is that the result, 1971’s There’s a Riot Goin’ On, is perhaps the most brilliant LP he ever recorded.

Dark? No shit. Gone was The Family Stone’s trademark cheery psychedelic rock and soul, replaced by a raw funk—which would reverberate in the ears of George Clinton and innumerable future funkers like a revelatory crack of thunder—that was as every bit as murky and hopelessly disillusioned as it was bracing. “I Want to Take You Higher” had become “I Want to Bring You Down, Way Down.” There’s a Riot Goin’ On was a sign o’ the times—of riots in the inner cities, Altamont, The Manson Family, and the Death of the Age of Aquarius—just as his more playful earlier LPs had been signs of theirs. But Sly had done more than just tap into the gestalt; he had just recorded his Exile on Main Street.

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TVD UK

UK Artist of the Week: Jess Kav

This week’s Artist of the Week is the incredible Jess Kav, who recently teamed up with former TVD alumni Birthday Problem on their new single, “Venus Calls.”

Jess Kav, whose work explores the intersections of music, social activism, and personal transformation, draws a conclusion as compelling as its inception. The alternative singer, who has collaborated with Hozier, The Waterboys, and Villagers, sings of vulnerability, injustice, and defiance, amplifying the volume’s ethos.

The new single is taken from Birthday Problem’s new album Risk—part one of a double album, which asked a diverse range of artists one question: “If we continue to indulge the worst parts of our humanity, what will the world start to look like in the future?”

Jess Kav is a singer, songwriter, and storyteller who explores the ever-evolving journey of music and self-expression. Birthday Problem, the collaborative duo of prolific producer/musicians Matt Harris (HAVVK, Maria Kelly, DYVR) and Rocky O’Reilly (ASIWYFA, Oppenheimer, Malibu Shark Attack), released the powerful electronic-soul single featuring Kav.

“Venus Calls” is in stores now via Veta Records.

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The TVD Storefront

Graded on a Curve: Welcome to Zamrock! Vols. 1 & 2

For decades, the prime fount of Afrobeat has been Nigeria. However, turning retrospective attention southward to the landlocked nation of Zambia reveals a distinct strain of ’70s African rocking; Now-Again Records’ two Welcome to Zamrock! compilations spotlight this movement with appropriate depth. The CD editions come with a 104-page hardcover book co-authored by Now-Again’s Eothen “Egon” Alapatt and Zambian music historian Leonard Koloko, while the 2LPs are accompanied with an edited booklet and a WAV download card. Together, they offer 34 tracks recorded from ’72-’76 that in the label’s words represent every important Zamrock band.

The music blog wave has long ebbed and without much in the way of commiseration, but it’s worth noting that an occasional curatorial gem did shine amidst the sea of digitized record collections. For example, music blogs are where this writer first heard a pair of Zamrock’s most prolific acts, specifically the Ngozi Family and WITCH; in a positive turn, Now-Again has licensed full-length reissues of both (amongst others) and awarded them prominent positions on these two overviews of the style.

In terms of groove, Zamrock is certainly related to the sounds that emanated from Nigeria during the same period, but overall, the Zambian approach is distinguished by a larger ratio of rock in the mix, a circumstance that can be attributed to the impact of colonial rule. Having broken free from Britain less than a decade prior to the start of Welcome to Zamrock’s timeframe, the country’s reality is succinctly expressed in Now-Again’s choice of subtitle: How Zambia’s Liberation Led to a Rock Revolution.

The Ngozi Family’s “Hi Babe” is illustrative of the Zambian recipe, and it smartly opens side one of Vol. 1. The cut’s most striking element is a distortion-soaked guitar riff that registers far beyond fuzzy to the point of being downright serrated, the garage-like production bringing it a slightly muffled quality as the sharp crack of the drums strengthens the hard rock foundation.

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A morning mix of news for the vinyl inclined

In rotation: 6/10/25

Guernsey, UK | Guernsey entrepreneurs look to put a “fresh spin” on vinyl: Forgotten vinyl players left wanting on shelves could see the dust depart and the cobwebs brushed off, as two local entrepreneurs have launched the Guernsey Record Exchange. The initiative will see records of “lesser commercial value” sold at pop up shops across community events, with proceeds being donated to charity, towards global aid, and environmental causes. These records in question will have been purchased from second hand collections, repurposed or restored, and then select pieces would be marketed to international collectors and music enthusiasts. It’s the brainchild of Nigel Chescoe and Rob Roussel, and works in partnership with the Vale Earth Fair. “We wanted to build something that combined our passion for music with a sense of responsibility,” said Mr Roussel.

Birmingham, AL | Owner of Seasick Records in Bham talks aliens & Alabama Shakes: “…Seasick opened in 2013. As long as you want to buy physical media, we want to be the place for you to pick it up. I wanted to cater to people that wanted to pick up punk artists and metal and more underground things that you couldn’t find in most places and just be an outlet for that….I think it’s been going on for 17 years at this point, but it was basically created in a time where independent record stores were kind of dying out, and iTunes was killing everything, and big box stores were really just taking over. So, they created this day to push people back to independent record stores. There are all these limited releases that come out on Record Store Day, and you can only get them at independent record stores. We fortunately have some really dedicated customers that camp out overnight, and they make it a big thing, and it’s just kind of continued to grow each year.”

Accord, NY | Freakout Spot, a new record store, brings eclectic music to Accord: Rob Davis is seeking to do something different with his new record store, Freakout Spot. Since opening at 5059 U.S. Route 209 in late January, Davis, who lives in Stone Ridge, has stocked the store shelves with music spanning genres, languages, decades, and cultures. Davis, who is originally from North Carolina, was drawn to the area for rock-climbing opportunities. “It’s kind of crazy how much this area reminds me of where I grew up,” he said in an interview on Thursday. “My family is all in the Blue Ridge Mountains now, and it’s so similar that they have the exact same weather patterns as us.” “It feels like home, but I get to have rock climbing right in my backyard,” Davis said. A former teacher, Davis has spent years collecting vinyl and working in record stores. “I was always hustling records, trading them, doing fairs,” he said.

Richmond, VA | The Vinyl Crypt of Scott’s Addition: Wax Moon’s strange magic. Off of Broad Street, deep in Scott’s Addition between warehouses and alleyways, is a black hole in the wall filled with music, vintage VHS, and (perhaps most importantly) Richmond’s preeminent collection of horror-themed pinball machines. I came to Wax Moon on a cool evening, unsure of exactly what I was looking for, until an all-black, barn-like building loomed out of the cramped lines of buildings like a spectre out of the ether. Its door hung open, and the sound of The Cure’s Plainsong leaked into the street; a siren’s call for any searching for the gothic and uncanny. Peering into the Moon offers one a view of stacks of vinyl records, teeming walls of DVDs and VHS, memorabilia and stuffed horror-themed displays, the all-encompassing presence of a decade’s worth of accumulated artifacts. It appears dark from the outside, but my eyes adjusted to the warm glow of exposed bulbs once I stepped into the Moon’s welcoming halls—collectors milled about the record bins

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The TVD Storefront

TVD Radar: Hagfish,
…Rocks Your Lame Ass vinyl debut in stores 7/1

VIA PRESS RELEASE | Stop the presses because this is one whale of a story.

…Rocks Your Lame Ass is one of the lost gems of the ’90s and a record that has NEVER seen a vinyl pressing. Originating from Dallas, Texas, Hagfish is the perfect blend of punk and power-pop. …Rocks Your Lame Ass was a defining moment for the band. Produced by Descendents members Bill Stevenson and Stephen Egerton and originally released on London Records, it packs a Ramones-style wallop and birthed MTV music videos for the songs “Stamp” and “Happiness.” The band was voted Dallas’ best Alternative Rock/Pop act in 1996.

With blazing guitars courtesy of Zach Blair (Rise Against) and the nasal vocal delivery of George Reagan, …Rocks Your Lame Ass sizzles with two-minute punk and power-pop stylings that stick like glue. Porterhouse will create a 500-copy limited pressing for the LP on opaque orange vinyl, and the package will include liner notes with never-before-seen photos.

Pre-sales for a July 1st release are on, and they will go fast. Hagfish will support the release with live shows in the future.

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The TVD Storefront

TVD Radar: Rusted Root, When I Woke rust and blue sky vinyl reissue in stores 7/11

VIA PRESS RELEASE | Rusted Root were part of the first wave of post-hippie jam bands and perhaps the most commercially successful of ‘em all, as 1994’s When I Woke, their second record and first major label release, went platinum.

In fact, the band’s popularity transcends the bonds of this planet, as their hit “Send Me on My Way” was chosen as the “wake-up” music for the Mars Exploration Rover Opportunity! But we Earthlings have heard that song everywhere on our own terrestrial airwaves, from sitcoms like New Girl to movies like Ice Age. Grateful Dead-style acoustic jams, Peter Gabriel-esque chants, and Graceland-like world beats infuse this music with both heady nostalgia and forward-looking fusion; latter-day bands like The Polyphonic Spree definitely owe a debt to Rusted Root.

But it’s the spiritual concerns of lead songwriter Michael Glabicki that lend When I Woke its healthy heft…this album’s got more on its mind than just having a good time (though it is all that and more!). For its long, long-awaited LP debut, we’ve had it remastered for vinyl and pressed it up as a double record in rust and blue sky vinyl, complete with an enclosed insert. Limited to 2500 copies—to quote another song on this album, pure “Ecstasy!”

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The TVD Storefront

Graded on a Curve: Jackie Wilson,
Higher and Higher

Remembering Jackie Wilson, born on this day in 1934.Ed.

Singer Jackie Wilson landed a slew of hit singles in the 1950s and early ’60s with a sophisticated strain of R&B that crossed over to the pop charts. In 1967, he managed a sizable comeback with the song for which he is now likely best remembered, “(Your Love Keeps Lifting Me) Higher and Higher.” The coinciding LP Higher and Higher, finds Wilson in strong form throughout with typically dynamic backing from members of the Funk Brothers.

To insinuate that Jackie Wilson is today a neglected figure would be ludicrous given how “(Your Love Keeps Lifting Me) Higher and Higher” has endured as a musical staple. It feels safe to say I’ve heard this tidy platter of pop-soul uplift at least 50 times while shopping for groceries alone, a number that can be doubled (probably tripled) when taking oldies station rotation into account.

To be clear, Wilson has other killer songs in his body of work, and to expand on his importance, he’s a crucial figure in bringing an admittedly smooth and erudite strain of R&B to wider acceptance. In turn, he helped lay the groundwork for soul music of a refined variety. But here’s another flat fact: Wilson hasn’t been well served in the vinyl reissue market, perhaps in part because none of the full-length albums he cut have grown into consensus classics.

Wilson recorded over two dozen albums between 1958 and 1976, but only a small number made a dent in either the R&B or the pop charts. But just as germane to the issue is how that many LPs is a surefire recipe for an uneven discography, especially considering Wilson’s penchant for Broadway show tunes and straight schmaltz (a tendency spanning back to the ’50s that necessitated his comeback).

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TVD Radar: Heatmiser, Mic City Sons 30th anniversary 2LP reissue in stores 7/25

VIA PRESS RELEASE | Third Man Records is proud to announce a very special 30th anniversary edition of Heatmiser’s landmark 1996 third and final album, Mic City Sons. Remastered and reimagined as a two-LP opus containing a set of rare demos and unreleased tracks, the expanded new version of Mic City Sons will be available via Third Man on standard black vinyl and limited-edition Sunset Pink Transparent & Starry Night Blue Glitter vinyl on Friday, July 25. Pre-orders/pre-saves are available now

A 12-song dynamo set to explode, Mic City Sons is both the sound of Heatmiser breaking up in real time as well as an era-defining slice of brilliance that lingers like the after-effects of lightning in the sky. Founded in 1991, the Portland, OR-based band—comprised of Neil Gust (vocals/guitar) Sam Coomes (bass), Tony Lash (drums), and the late Elliott Smith (vocals, guitar)—had won critical acclaim and a growing fan following for their darkly combustible brand of indie rock, earning them a major label deal with Virgin Records.

Heatmiser built their own studio in a shared house in Portland and set to work, joined by producers Rob Schnapf and Tom Rothrock (with whom Smith would go on to record his classic solo albums, Either/Or, XO, and Figure 8). Unfortunately, the sessions were fraught with interpersonal conflict, almost every moment a battle: Lash was a burgeoning gearhead, while Smith liked rough edges; Coomes sometimes felt Schnapf and Rothrock were breathing down his neck; and Gust lost his confidence as he and Smith grew apart due to his longtime friend and collaborator’s increased focus on his burgeoning solo career. “He became such a thing on his own, and then just disappeared from the plans we’d made together,” Neil Gust says. “It sucked.”

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Graded on a Curve: Family,
Fearless

I used to sleep well knowing that the English progressive rock band Family, like Savoy Brown and Steeleye Span, was one of those groups I could spend my entire life ignoring without having to worry I was missing something.

I was wrong. True, some of the songs on 1971’s Fearless—their fifth—are just what I expected: drab progressive rock with a folk edge. But they’re all over the place, and at their best, they’re surpassingly strange; the oddball odes “Sat’d’y Barfly” and “Blind” blow me away, and on several others, they more than hold their own. Family will never be a member of my family, but I’d be a poorer man for never hearing them.

Family are a conundrum—formed in 1966, they released their first album in 1968, and established a reputation as a formidable live act, one so formidable it’s been said “that the Jimi Hendrix Experience were afraid to follow them at festivals.” Maybe so, but I haven’t heard anything on their live albums that would make me think they gave Jimi a fright, and their studio albums are even less electrifying. True, lead vocalist Roger Chapman amazes with his totally idiosyncratic vocals—one writer described his voice as a “bleating vibrato” and another described him as an “electric goat,” and there’s no denying he’s an excitable boy. But a goat boy of a lead singer does not a great band make.

Family’s lineup underwent consistent changes over the course of their career, as did their sound from LP to LP, but come Fearless they featured Chapman on vocals; John “Charley” Whitney on guitar, mandolin, and percussion; John “Poli” Palmer on keyboards, backing vocals, vibes, flute, and percussion; John Wetton (who would ultimately move on to King Crimson) on bass, backing and lead vocals, guitars, contracts (?), and keyboards; and Rob Towsend on drums, Paiste cymbals, and percussion. Family were a crack outfit, but on Fearless they’re a crack outfit that occasionally bores me silly.

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A morning mix of news for the vinyl inclined

In rotation: 6/9/25

New York, NY | NYC’s only Italian record store closing after family feud follows matriarch’s death: ‘This is my identity.’ This is no amicable arrivederci. The city’s only Italian-language record store faced a changing neighborhood, streaming services and a pandemic—but it was the death of a matriarch and family feud that brought about the final curtain. SAS Italian Records in Bensonhurst will close after nearly 60 years in business once it sells off its inventory of Italian-language CDs and records, owner-operator Silvana Conte tearfully confirmed to The Post. “This is breaking my heart, I’m having a breakdown: this is my identity,” said Conte, whose parents opened the store in 1967 after emigrating from Ponza, Italy. “The store was everything to my family … [but] inheritances being what they are, it’s not up to me anymore.”

Dallas, TX | Vector Brewing honoring late Good Records owner with special pilsner: Vector Brewing recently released a special pilsner in honor of late Good Records co-owner Chris Penn. Penn, who was severely injured and paralyzed after a fall at Good Records in March, died from his injuries on April 23 after over a month in the hospital at the age of 54. The beloved East Dallas music figure’s injury and eventual death led to an outpouring of support from the community, with a GoFundMe page organized in benefit of his family raising over $200,000. When Vector Brewing owner Craig Bradley heard about Penn’s injury, he says the idea for a commemorative brew quickly followed. “We immediately knew,” Bradley said. “We were like ‘I want to do something to help him out, help out his family and help out his recovery and everything.’ And then, unfortunately, we heard the terrible news that he’d passed. So suddenly the beer became more in honor of him.”

Durham, NC | What’s Up With the Psychic Hotline Mailroom? A Durham record label keeps an open line with fans at its modest Holland Street pop-up—record store, retail shop, and collaborative creative nucleus, all in one. Psychic Hotline, the Durham-based record label founded by Nick Sanborn and Amelia Meath of Sylvan Esso with longtime manager Martin Anderson, has planted its flag in downtown Durham with a retail pop-up called Psychic Hotline Mailroom. The Mailroom, located at 316 Holland Street, sits at the end of the cobblestone alleyway next to the Durham Hotel. Psychic Hotline keeps an office on the second floor as the label headquarters, and an actual mailroom on the first floor for shipping out online orders. But since 2022, the label has periodically opened up a small room at the front of the building for in-person shopping—a way to connect with fans and showcase the label.

Englewood, CO | Highlands Ranch resident turns poster hustle into thriving record store in Englewood: In the heart of Englewood just off South Broadway, Sold Out Vinyl Records is buzzing with energy in its new location. Rows of neatly organized records, cassette tapes, CDs and vibrant poster racks fill the store—a place that feels both retro and fresh. For owner Joe Magoonaugh, what began as a side hustle selling posters online has blossomed into a brick-and-mortar record store. “We’re kind of a traditional or classic record store,” Magoonaugh said. “That’s basically what we are. When you walk in the doors, that’s the goal—like the old record stores you used to walk into with all the fun stuff. The posters, the CDs, cassette tapes, records and everything you need to play them.”

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TVD Los Angeles

The Best of the Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

The golden age of rock and roll will never die / As long as the children feel the need to laugh and cry / Don’t wanna wreck, just recreation / Don’t wanna fight but if you turn us down / We’re gonna turn you ’round / Don’t mess with the sound / The show’s gotta move everybody groove / There ain’t no trouble on the streets now / So if the going gets rough don’t you blame us

Oh oh oh gotta stay young you can never grow old / Oh oh the golden age of rock and roll

It’s no secret that I’m a highly emotional and over sentimental rock ‘n’ roller. As my 15 year old son Jonah barks at me, “Dad, you old hippie. What, you gonna cry? Fucking pussy.” He’s not far off, ha ha! It’s my DNA make-up and it’s become clear that songs have the ability to transport my emotional state to a time and a place.

These last couple of weeks I’ve been triggered by a playlist I compiled of favorite albums from 1974. It’s totally insane, surreal and frightening that I’m recounting summers past in the late 1970s, but it’s the first week in June. Final exams have been taken, books, pencils, and computers tossed to the side. There is an exhale of relief… and then joy. The joy of possibility. The freedom of youth. I feel it, like voices on the wind.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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