Here at THE VINYL DISTRICTwe're good consumers. All Mp3's are posted to promote and give exposure to the music and are linked for a limited time. Please download to preview, then head promptly to your local vinyl vendor (or - OK, CD store too) and fork over your hard earned cash. You'll appreciate the piece of mind.
Got something you think we should be listening to or reading? thevinyldistrict (at) gmail.com
I stumbled upon something in yesterday's ramble that I'd like to pursue today--almost the inverse operation of our discussion. Do these Cole Porter compositions from the 1930's and '40's sound remotely contemporary to today's ears with the sense of timelessness that we've been discussing? And if so, do they in a manner that doesn't approach kitsch in the way The Stray Cats or Big Bad Voodoo Daddy do, for example? Is there a post punk or new wave sensibility at work here whatsoever? Or, dare I even say it - goth? Hm.
The mutual admiration society that was formed between and The Beatles and Harry Nilsson was one that underscores what I fear will be, in time, another botched experiment this week -- the pursuit of a unique sense of musical timelessness. But I'll persevere...
At the time I'd argue, Harry was right to see The Beatles as traversing this unique bridge from contemporary style and taste-makers to composers of our contemporary standards in the Cole Porter or George Gershwin vein. Yet, how could Harry know that The Beatles were to forever loom AS large in our collective consciousness as they have--marrying them inextricably to the 1960's, for example? So, it was to be Harry who didn't achieve this overarching fame who, in my opinion, penned the originals that crack the window and let the air of timelessness in. I hear the 1920's, the '30's, the '40's and so on...
Very often it's said The Beatles or The Beach Boys (or whomever...) have penned a "timeless classic" -- a tune that will live on for the ages. And while that very well may be true, I hardly think of their music as "timeless." And how can it be? Like all fine music it's imbued with the era of its creation, molded by the prevailing recording methods, and nuanced by the very first time it made its presence known to fresh ears. I may very well be humming "She Loves You" long into my geriatric years, but forever it'll evoke --both sonically and historically-- that very first British Invasion.
So, couple this notion that's been running through my head recently with the experiment from last week, to literally and specifically wed "New Wave" to certain years over others, I've been asking myself, is anything truly timeless? Can something from our "modern" era ever be thought of as perhaps, somehow in some construct, existing in say, 1910? Can I envision some Depression Era hobo hopping aboard a southbound train humming something that I might be humming today? And if so - what would construe such timelessness?
My inclination is to think that this salad would consist of some fine melodic and evocative songwriting for one, a lack of wicked popularity such as The Beatles attained to divorce it from any era, and the absence of a sonic fingerprint that would wed the recording's sound to a particular time. No Hendrix, for example. No Bee Gees. No Nirvana. Maybe nothing electric for that matter - or the taint of modernity. Just a slim, sexy skeleton without any meat or matter on the bones.
So, forgive me once more, I'm conducting an experiment.
One time I caught Elliott Smith at the Black Cat's first spot a few doors down on the left. While my date that evening napped (?) there was a quiet lull between songs and some other young lass yelled out "Elliott Smith - you break my heart!" And she had no idea just how right she was.
It's all gone horribly awry, this experiment of mine this week. If there's one release that single-handedly absolves the latter half of the '80's, it's 'Hats'.
Trouser Press gushes, "'Hats' was five years in the making, but the band's relentless perfectionism paid off: the seven songs are as dense and moving as a midnight sky. With sweeping synths and the pristine click of electronic percussion, "The Downtown Lights" and "Over the Hillside" are moody like film music, while "From a Late Night Train" and "Saturday Night" are impressionistic vignettes that creep along in slow motion. There's hardly a guitar or live drum to be heard, but seldom has studio technology been used to such warm and personal results."
On Saturday, July 14th, 1990 I was third in the General Admission line at Georgetown University to see The Blue Nile on tour for 'Hats'. The heavy wooden doors swung open to what seemed like a chapel at the time--the smell of old books mixed with the light streaming through the stained glass windows as I took my seat...front row and center. Even in this context, Trouser Press was correct--seldom in a live setting have I been witness to a show with such warm and personal results. They performed the entirety of 'A Walk Across The Rooftops' and 'Hats' but the audience was relentless in applauding for MORE. Buchanan stepped to the mike and shrugged, "that's all we know...!"
Yes, it's all gone horribly awry, this experiment of mine.
One of my favorite records of all time just so happens to fall under the post '85 release category we're discussing this week--1987, to be exact. Unfairly lumped together with such middling acts as Curiosity Killed The Cat or Matt Bianco, Danny Wilson was light-years beyond their 'peers' in every category. Sounding like Steely Dan (Hi Davy) channeling Bowie, yet retaining a truly unique sense of timelessness (remember that word there...) "Meet..." is an astonishing and thoroughly rewarding debut. And uh, Gary Clark--one of the best vocalists ever?
I'd like to throw a little love back to Turntabling who tossed some affection our way with this post yesterday. Fans of this blog will certainly find plenty to enjoy over at Joe's place. Cheers!
When I was a kid, a bunch of the neighborhood families rang a bell to call their own kids in for dinner. Our ears became so acute as to be able to tell by pitch alone whose family was calling who. Me? To differentiate their call to dinner, my folks got a horn. A big, honking horn. NOT cool.
How does this relate to today's choice of post-1985 New Wave, you ask? I'll tell you - one word: reissues. Don't tamper with 'em. If I'm repurchasing some long lost LP, I don't want to hear new 'original' mixes or any tampering with tempo or arrangement. I'll hear it. Like the tiny, tinny differences in the ringing of the bells for supper--we KNOW. And for whatever reason, back in the mid to late '80's we listened to this record a LOT. And honestly--I don't know why.
Thankfully good pal and frequent TVD commenter Shamus came to my rescue with the original mixes some time back which are below. Does it hold up as fine post '85 'new wave'? I was ready to slice and dice with a resounding 'no'...but I'm feeling a little generous today. And like the ringing of those long ago bells, it takes me back home.
After last week's goings on, I've been thinking about '80's Music' in some more general terms and when thinking it through, I'm of the mind that when "80's Music" is referred to (note the quotes) one is normally referencing anything that came during or prior to 1984 and that from 1985 onward...much was well, sort of ...waning and not "80's music" any longer as typically mentioned.
Think about it, all of the seminal and archetypical acts of the 1980's had already reached their highs (or glorious lows) and by '85, the rest was all downhill, a tepid rehash of what came prior, uninspired, or worse...bad MTV metal.
But to challenge my own assertion, I'm going to pull a few titles out of the stacks over the next few days that may or may not back up the above caffeinated rant. And while I thank Noah for yesterday's post, and despite reacquainting myself with and humming along to "E=MC2", the 1985 and 1986 LP's by Big Audio Dynamite...just never did it for me. Not even close. And worse--may have spurred this whole topic.
Which brings us to Tears For Fears' 1985 follow-up to 1983's "The Hurting". I'm actually on the fence about this one. "Mother's Talk" and "Shout" were both released as singles in the UK in '84, but the LP's proper release came in '85. Yet as a follow-up to "The Hurting", "Songs..." lacks the inspiration and pure self-awareness that made its predecessor such a gem. And despite the commercial success of this LP, this release could literally be the 'jump the shark' moment for '80's music as a whole. What was once a bit self-absorbed and off-kilter and marginally underground was now being introduced by Casey Kasem on America's Top 40. Egad.
Did I mention I'm on the fence about this one though? Reluctantly, I think a few of these tunes hold up...
One thing we're going to attempt to do here in year two of this blog is to open the forum to much more reader participation. I've poked and prodded a few of you to pony up the Weekend Shots, but beyond that, if there's something you'd like to see here and you're inclined to put pen to pixel--just let us know. Just like way back when I was working in the record stores--everyone and I mean EVERYone--had an opinion. So don't just sit there in silence, emkay?
Just like WellerWeek Noah who said to me late last week, "Hey, did you ever feature...?" And like the cat to the cream:
"It is no secret that TVD is pretty high on the Clash and Joe Strummer. And rightly so. But, I think it is time to heap a little praise on Mick Jones, the man behind most of the music of the Clash and the band member who has had the most successful post-Clash career. Indeed, after being thrown out of the band he had founded, Mick Jones subsequently emerged with Big Audio Dynamite and created two of finest records of the 1980s. "This Is Big Audio Dynamite" (1985) and "No. 10, Upping Street" (1986) combined funk, guitar-rock, hip hop, reggae, and a hell of a lot of samplings. The results were very groovy tunes with incredibly memorable imagery. The first four tracks on "This Is Big Audio Dynamite," including the incomparable ‘E=MC2,’ are some of the most unique pop songs ever. The follow up record, "No. 10, Upping Street," was co-produced by Jones and Strummer and featured a number of Strummer/Jones tunes, suggesting they had overcome their Clash-era differences. I always loved this album cover photo too.
Big Audio Dynamite comprised a major portion of the soundtrack to my high school years. My circle of friends were all into B.A.D. and I remember my buddy Rob even passed off the lyrics to ‘A Party’ as his own poem about South Africa in his creative writing class – only a few of us knew better and certainly not the teacher (you can’t get away with that sort of thing today with the internet). The big highlight came in our senior year when we loaded into the car and drove down to New York City for the B.A.D. show at Irving Plaza in April 1987. After parking the car and getting some beers we came across some punks who told us to “go back to New Jersey.” No offense to Jon or anyone else out there who might be reading this, but as a seventeen year old this was an intolerable insult. “F off, we’re from Connecticut,” I replied. A big mistake as the punks promptly pummeled us. Bloodied and bruised we nevertheless made it to the show and it was great, though nowadays what I remember most from that gig was how smoky it was inside.
Twenty-one years to the month later I was back at Irving Plaza to see Mick Jones’s latest project, Carbon/Silicon, which incidentally features original Big Audio Dynamite member Leo Williams on bass. I was floored by how good they sounded. Tony James, drummer Domonic Greensmith, and Leo were so tight and complemented Mick’s loose style perfectly. Though I hadn't listened to any of the songs in advance they had an anthemic quality that really suited the live experience. To date, the Carbon/Silicon gig has been my favorite show of 2008. So, here’s to Mick Jones for still putting out interesting music and continuing to rock out live. Cheers!"
In the summer of '84, my Aunt Gerry and her husband, my Uncle "Turk", came to stay with us for two weeks...which JUST so happened to coincide with a new found fondness for slipping out the door and around the house for a puff or twelve.
My folks were a known commodity...I was in sync with their schedules, knew their patterns, and 99% of the time no one was the wiser. Gerry, bless her with her white zinc'd nose and terrycloth beach hat, was another story. Her patterns were erratic--one moment she's sunning herself out on the deck, another moment she's mixing whiskey sours. What to make of this? I was forced to wait it out til things settled down. And wait. And wait...
I count some of my finest moments on earth to be those when finally the lights went out and I snuck out into the simmering summer. Alone with the crickets and the fireflies in the purple light...y'know--thinking things over for the first time. I'd have played all these songs waiting for this moment and when slipping back in and returning to the same playlist, they sounded all that much better.
Gerry and Turk are both gone now and yet I think of that summer as the Last Great Summer when I had nothing but time to just...wait...things...out.
I'm still shaking my head a bit at placing number five on Makeoutclub's Top 10 Mp3 Blogs of All Time List. JUST when I was wondering if this experiment in blogging about all things vinyl might have run its course, comes this fine recognition. And considering the zillions of blogs out there, I'm more than honored.
If I can be allowed one (tiny) quibble however, it has to do with this line in their write-up: "Given their nature, music posted on the Vinyl District are mainly in the “classic rock” area..." Actually, I'm not sure that's accurate. Much to Mick's dismay, there's the random KISS post for sure (it's my 'adultolescence' ...right?) ...the Thin Lizzy fascination, my T-Rexstacy, and certainly musings about all things '70's, but truthfully 85% of the TVD content tends to be of the post-punk/punk/new wave variety. Now, don't get me wrong, I dig me some AOR/FM radio rock...just not THAT much.
I think the thing is that, yea sure, vinyl's on the upswing in terms of sales volume (however incrementally) but still the majority of all new releases are most certainly CD or Mp3-based. (I can't tell you when the last time I actually bought a CD was though--maybe a boxset or some rare find on ebay...but really, who buys CDs any longer?) I actually do buy my new, NEW releases on vinyl...lovingly pressed and assembled for the 10 or 12 (fill-in-the-blanks) like me. From Bauhaus's "Go Away White" on white vinyl, to the new Supergrass or Joe Jackson LP's--all were previewed via download and purchased new. But I've had a quandary regarding posting some of this new stuff as vinyl rips for example. I mean, when it's readily available now, why undermine the sale of the shiny new stuff by Mp3-ing it up, of all things?
So, I've tended to indeed go back and highlight the stuff that kicked me in the ass way back when and perhaps it's heard for the very first time by someone. And OK, becomes a "classic" for them along the way. That'd be nice. (Hm. Now maybe if I add quotation marks around 'classic' like that, Makeoutclub was indeed RIGHT on the money...? Hm.)
If the powers that be see fit, these artists below deserve their new releases on vinyl and then you can say to your e-friends that you heard this brand new track on TVD and wow, cool--now it's out on vinyl! And that'll be when I see you at the next (fill-in-the-blank) meeting. "Hi, my name is Jon.............."
"Ever since the initial burst of blogs coming in after the pioneers like Fluxblog and Stereogum, there’s been a steady stream each day of brand new mp3 blogs. Some are set up purely for promotional reasons (it took awhile but sometime around ’06, record labels began to see the benefit of giving away single tracks) but a majority of mp3 blogs authored and maintained by fans with the desire to share the music they love. Power to the people, it is back," the eight-year old Makeoutclub writes.
"Those looking for a quick mp3 fix may just hit up one of the directories available (i.e. Elbows and Hype Machine) but when looking for a consistent introduction to new music as well as a reminder of old favorites, some of these mp3 blogs are clearly standing out above the rest."
#5 Vinyl District "Relative newcomer to the mp3 blogosphere world (b. July 2007), the Vinyl District stress the importance of consumers continuing to purchase vinyl instead of downloading everything. They claim to be good consumers and ask that their site visitors try to remain the same. That being said, the Vinyl District exists to “promote and give exposure” to music that might have never made it out of the vinyl bin. Seeing as compressed digital files are far less superior to actual vinyl, the Vinyl District is legitimately promotional and is one of the first effective ways to sort through piles of virtual vinyl. Given their nature, music posted on the Vinyl District are mainly in the “classic rock” area with much love shown to bands like the Clash."
All Request Week continues here at TVD, and frankly I'm surprising myself with what's stashed in the archives--so Mark, here's a three-fer for you this morning. Good pal (and your WellerWeek author) Noah also wrote requesting some Grant Lee Buffalo, and here's two of my favorites.
And Mr. B. Walker, I've got some bad news, however--I got nuthin'. Those are some obscure requests there, my friend. But here's a tip, go check out what whiteray's up to at Echoes in the Wind. His exceptional taste and story-telling seems to be riiight up your alley. Tell him TVD sentcha'.
One of my favorite bands as of late, Ghost Mice, a little known band consisting of a guy on guitar and a girl on violin, who work their behinds off playing shows in peoples' houses, community centers, churches, wherever they can really, have a song in which they sing "punk rock music saved my life." When I heard those lyrics I felt something surge through me, memories of the past- people, places, events- that will stick with me always but which I rarely think about these days. It was both an overwhelming and wonderful feeling, hearing those lyrics. This is what led me to my first official TVD post. I credit a few punk bands with really influencing my tastes in music and my outlook on life (which you will, no doubt hear about in the near future) and while they didn't exactly "save my life," the Adicts have always had the ability to get me in the mood for going out and having a good time.
Although they began in the 1970s, the following decade was when they really shined. Sure they rose to popularity on the indie charts well after punk was pronounced "dead" but their songs are the kind that even the most square of persons can tap their feet to while sitting in a dingy bar waiting for the band they've come to see take the stage. I couldn't decide which album to offer a tasting of so I've given you kids a smattering of 1981's "Songs of Praise" and 1982's "Sound of Music." Listen and let these Clockwork Orange-esque punkers get you "adicted."
On Monday, Boyd wrote in with some requests, and now come Wednesday morning, here they be. Hope we've chose wisely for ya. Keep 'em coming in, folks. I can't believe you've all downloaded everything as soon as they've been posted?
As mentioned yesterday, to celebrate TVD Year One, we're doing an all request week---so let's have 'em. If I get enough, we'll go clear into the Weekend Shots, so don't be shy. And as I always say, if the day's posting makes just ONE person happy, I've done my job. So, Ms. Urban Gypsy, today's your day. You'd be wise to click here and here too.
I have to admit. I kinda paced around back and forth in my mind over the last week trying to think about what my first TVD entry should be. One idea definitely stuck with me the longer I thought about it. Something on Robert Wyatt. More than that. A mini-series on Robert Wyatt. Not like some PBS or BBC type of thing (though he is from Bristol). Just a little three-course meal dedicated to a master chef of psychedelic, progressive chefs. I mean --- he IS the earlier and jazz-fusion. Let's me think about that some more. Ok - he's possibly a master chef of all chefs in all of the kitchens of music. The Food Network can contact to me about that weird analogy later if they want to, but to say that he's influenced me and others greatly is an understatement.
I'll sing more specific praises and give the backstory of his career like the nerd that I am later. For now though, I'll just say this: unreal drummer (notice the patterns, signatures, solos), incredible vocalist (the melodies he choses to use), gripping lyricist, spectacular beard. You'll notice the beard thing in the third part of the series. I promise...
Let's kick it off with the Wyatt-era Soft Machine. Primarily Volumes One and Two. --Mukisa
What were you doing when you were one? Me...I was in diapers and drinking from a bottle. So, yes...very little has changed. (ding!)
My dad used to have a saying after say, I expressed a distaste for banana cream pie or something. He'd moan, "Aw - you don't know what's good." And he said it often enough, truly without disdain or anything, where'd I almost say it along with him at times. Then I got a bit older and thought about that line, and not that he meant it really, but it dismissed all of my opinions on ANY-thing outright. "I don't know what's GOOD." Like I'm in some netherworld flailing about with the truly mediocre.
So, it started to crack me up and I began to use it in common conversation to the point where my buddy John picked up on it and we were off dismissing each other's taste in everything but mostly music. The computer whiz he is, John set up a bulletin board where, not just he and I, but our entire group of friends would tell each other, "you don't know what's f'n good," practically 24/7. Whoo boy--nothing like dissing your pals on the internet, I tell you.
So, imagine our surprise when the thing got hacked and destroyed. I mean - what? Am I gonna have to WORK now? (I kid, employer!) But it was a real drag and as John and I were plotting the return of YDKWG in some guise, I got to tinkering with Wordpress then Blogspot--and TVD was born. Without forethought or planning. Boom. I was off.
I was enamored with the Retro Music Snob blog at the time (who's back if you didn't know...) and reached out for some guidance and he was damn gracious with his time and advice and do's and don'ts. Two things he said still resonate with me: update daily, give folks a reason to return, and second--don't let it become a job. Sage advice on both fronts, I'm thinking.
Well, I've been fortunate--the thing took off. After 415 posts, 134,655 unique visits, and 246,975 pageviews, I owe a tremendous debt of gratitude to YOU, the readers who've visited, commented, and participated each day. It's you guys who make the entire endeavor ultimately worthwhile. I'd be remiss if I didn't thank the advertisers over there on the left who've offered their support as well. All I had to say was "DC vinyl blog" and each and every one signed on with enthusiasm. Two-thirds of the "Vinyl District Frequents" list graciously swapped links with me and allowed this blog to swim further down the river on their backs. I trust the wind has picked up enough here to return the favor.
So, with all of this said, I'm sure you'd think it odd that I've been ready to toss in the towel here. Against RMS's wise council, it has become a bit of a job. I've daydreamed about ebaying the blog and selling it off to the highest bidder who'd earn the keys to TVD HQ. Or, like the "Sisterhood of the Traveling Pants" or whatever that book/movie is called, handing it off to another keeper of the flame and hoping the new caretaker looks after it with the same thoughtfulness and care.
Ultimately, the nagging question has been just how long can one blog survive trumpeting VINYL? Well, we're about to find out.
Beginning this week, three new voices will join the mix here at TVD, lending a welcome hand to what has been a one-man blog. Over the coming days Billups,Mukisa, and Kristin will be introducing themselves to you as new, frequent contributors here at TVD. They'll be lending not just their voices to the proceedings, but their record collections as well. And while I trust that there's plenty of overlap in our individual tastes, there's enough divergence to cover ground that this blogger could never accomplish singularly. You'll still have me here each morning waxing nostalgic, but there will also be plenty to have you popping back in throughout the day.
Plus, we have even more ticket giveaways to come as well as some opportunities to score some brand new vinyl, so you readers who aren't locals can win something too for a change. Nice, huh?
So, welcome to year two of this little experiment. Thank you for having us.
_______
A note about this week's "theme"--an all-request week. Rarely does a morning pass where I don't receive a request for something posted way back when, and as much as I'd like to honor those requests for reposts, they're a tough thing to pull off with any frequency. So this week - let us have it! If you've missed something that we've previously posted, want some more, or think it just may be in the TVD archives, leave a comment and we'll post it as a small way of simply saying thanks...and cheers!
I stumbled upon something in yesterday's ramble that I'd like to pursue today--almost the inverse operation of our discussion. Do these Cole Porter compositions from the 1930's and '40's sound remotely contemporary to today's ears with the sense of timelessness that we've been discussing? And if so, do they in a manner that doesn't approach kitsch in the way The Stray Cats or Big Bad Voodoo Daddy do, for example? Is there a post punk or new wave sensibility at work here whatsoever? Or, dare I even say it - goth? Hm.
