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.
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OK, so - put your fingers realll close together without them touching. Alright, now closer. Closerrr. Now, see that space right there that remains between your fingers? In THERE exists my taste in music amid the entire universe of what's out there. (I like to think there's still a universe within that space, but still.) So, imagine my surprise when a tune on the RADIO no less, stops me in my tracks for a swoon, all 1979 New Wave-like. "Walking With A Ghost". I walked around like a zombie (and a ghost) singing this to myself for WEEKS. And the whole record's damn good too. Those Quinn sisters got it.
It's hard to imagine that I wasn't really a Cure fan at one point (the more I think about it). Siouxsie & the Banshees - always. However, I actually thought that the Cure were mostly overrated not only in the gothic sense and the beginnings of their goth phase, but in general pop music. I mean --- I stuck to Bauhaus immediately when I first heard their material. Same with Tones on Tail. Joy Division. Public Image Limited. Cocteau Twins. I can go down the line pretty far with stuff from that era because so many of them blur the post-punk/gothic genre lines and ties with 4AD, etc. I guess this was b/c I was used to matching the Cure with "Friday I'm in Love" and got into them well after so many similar bands. However, after taking more time over the years breaking down their work --- especially 'Pornography' and 'Disintegration' --- I realized that I made a critical mistake in judgment. An ultra critical one. Robert Smith. I'm seriously sorry about overlooking your songwriting, composition and production gifts (:/). Siouxsie & the Banshees amazed me in the same way. Steve Severin's production work and approaches to their sound struck a chord with me instantly. Menacing, yet melodic. Minimal, yet heavily weighted. I think that I played 'The Scream' ten times in a row - top to bottom - when I first got that record. Seriously.
So imagine what happened when I first ran into the Blue Sunshine album. I was seriously blown away. It felt like someone reached into my dreams and put together exactly everything that was beautiful about that niche and that time. 1983. Distortion, filters, echoes, tape loops, drum machines, dark imagery, depressive elements, unique mixing/blend of contrasting elements. Every vocal sounded like it was filled with a dark sense of despair and urgency (Jeanette Landray's style especially - great fit because she mirrored Siouxsie's style in so many ways, but with a Nico-like delivery). Maybe I'm painting the album up too much or something, but "don't take my word for it...". heh.
Hello Vinyl District. My name is Sean Dunne and I used to think I was record collector. During college I worked at a deli and spent every penny I earned slicing Genoa salami on my pursuit of the punk rock classics on vinyl. When I tracked down and paid $40 for a first pressing of the Angry Samoans outstanding sophomore effort Back From Samoa, I began to realize my collecting had reached crisis level. My small room in my parent’s basement was getting increasingly cramped with my 400+ LP’s and EP’s. If it weren’t for the fact that I had a girlfriend and a bitchin’ Mustang some may have qualified me as a dweeb, I can admit this now. This never deterred me though. I loved the music, I loved the records and I loved the pursuit. Like I said, I used to think I was a record collector. That was until I met Paul Mawhinney.
Paul Mawhinney puts people like me to shame. In his presence I find myself embarrassed to even mention my puny little “collection”. It would be the equivalent of meeting Wayne Gretzky and bragging about your 4-goal game in peewee hockey, embarrassing for both parties associated. Paul has the world’s largest record collection. He has well over 3 million records. He has spent the past 40 years acquiring and meticulously cataloging everything the pop music landscape had to offer and in the process he cemented his legacy amongst the great obsessive collectors.
In June I visited Paul and made this little film about him. He is a pretty interesting specimen. He had lots of stories, most of which I couldn’t fit into the film because everyone has ADD and I wanted to keep it around 7 minutes. But if you guys like this maybe I can make a longer director’s cut that includes his rant about how he hates Tom Hanks and how he is unacknowledged for launching the career of David Bowie. But until then fellow Vinyl District readers, I give you…The Archive. Update:
While visiting family and friends in the Hampton Roads area of Virginia this weekend I got a call from my best friend asking me if I wanted to see Cheap Trick, Heart and Journey on Tuesday night. Now, being a "baby of the eighties" I was never able to see any of these bands at the height of their fame, unlike my father who saw Heart and the Cars (among others) play at Denver's Mile High Stadium almost 30 years ago, so of course I quickly responded "YES!!!!!". Although Cheap Trick and Journey played a good set, I was absolutely amazed by Heart.Those Wilson sisters still have whatever caused them to sell millions of albums in the 70s and 80s. I think this was the first time I've ever seen a non-headliner come out for an encore (consisting of an excellent rendition of Zeppelin's Going to California). I have a few Heart albums and was debating which to put up here, but I think "Dreamboat Annie" is perfect because it showcases Nancy Wilson's fantastic acoustic guitar skills and Ann's ability to rock the socks off anyone- including Robert Plant who she is oft compared to.
True story...I'm backstage with Ed and Big Andy. The two have known each other for years and years, going back to their early days up in Syracuse together when Ed fronted the The Works and Andy was an underage hanger-on. Somehow it slips out that Andy brought his mom to the show. (Could've been me on beer #20. I dunno.) But anyway, that didn't sit so well with Ed. "Sheez, Andy, "he's wincing and rubbing his bald head, "did you tell her about my show...I mean the language, alone...who brings their MOM to a Hamell show?" "No, no, no," Andy's going on, cig hanging from the corner of his mouth. "You just do your show--keep it out of your mind."
What followed was a improvised, blistering evening of soul searing, over the top, foul-mouthed genius BECAUSE Andy's mom was in the audience...y'know, AFTER he introduced Andy's mom TO the audience. I laughed so hard I told my chiropractor to pencil me in for an additional hour the next day. (Lil tip: think twice before bringing small children and 'the greatest generation' to a Hamell show. Really.)
Ed himself will tell you he's a tough sell. One guy alone on stage making like he's Keith Moon-era Who with this beat up, eighty year-old acoustic guitar he's pummeling like a punk rock Otto Preminger. Then there's the comedy bits ala Bill Hicks and the off the cuff insights. What to make of this salad? I admit that at the time, after much Andy urging, I was a bit of a skeptic. Twenty minutes in however, I was SOLD. But don't take it just from me - in August '07, Hamell received a slew of outstanding reviews and a coveted Herald Award for the production at the Edinburgh Festival Fringe in Scotland. Three Weeks raved, “The man may very well be a genius. Obscene, outrageous and brilliant.”
So friends, in an effort to cut that first twenty minutes down to a mere three or four for future generations, Hamell himself, in concert with the super swell folks at Righteous Babe Records, bring you another TVD Giveaway--the Hamell On Trial Bag 'O Swag! Said swag bag consists of Ed's three RBR releases, "Tough Love", "Songs For Parents Who Enjoy Drugs", and an autographed copy of the brand new DVD/CD combo "Rant & Roll" which includes the DVD of Ed's one-man theatrical production “The Terrorism Of Everyday Life”. Oh, yea - there's a Hamell tee shirt in the Bag 'O Swag too. And some Righteous Babe stickers you can affix to your forehead. Cool huh?
How do you score this bag, you say? 'Tis simple. Have you seen Hamell live by chance? We want to hear about it. Have you seen Ed run a traffic light or did he flip you off on the Jersey Turnpike? Fill us in. Do you have a similar experience seeing an act for the first time and becoming ye olde convert for life? Pull up a chair - we'll hear your confession. Just leave 'em in the comment section (with some contact info!) and we'll choose the most compelling comment from the lot and announce the Bag 'O Swag winner this time next week--8/20.
And for all you readers in the UK - Ed's in your backyard as you read this very post. Check him out live--just leave the folks at home, K? Dates that include a week of shows at the Edinburgh Fringe Festival can be found right hea'.
All week we'll be going through Ed's Righteous Babe Records back catalog...collect 'em all.
The risk you run with a blog that's primarily vinyl-centric is appearing to be a bit ...well, out-dated. Musty. Mothball era. (OK, there--I said it.) But it doesn't mean that we're not listening to new, new music--in fact, just the opposite. Happily, we're inundated with it from every corner of the globe, but until now, there really hasn't been a forum at TVD to feature new acts who are struggling to get known and/or have yet to become indie-household names.
Until now, that is. As the header suggests, we here at TVD want to be your band's First Date. We're casting about for submissions from readers at large who are in a band, work for a band, or sleep with a band, or who've yet to be bounced on the knee by baby's first blogger--to be featured here at TVD each Wednesday. (Even if you've been around the block once or twice, of course we'll still take you in.) Send us your Mp3's, photos, and we'll even let you write your own intro for your band. Dream date, right?
Oftentimes I liken the iPod to a mood ring (remember those?) to reveal just how my inner synapses are firing. OK, so let's see, on shuffle play for the first time in a little while it seems today I'm feeling a bit...mainstream, ...uncomplicated, ...kinda retro, ...and finishing under three and a half minutes. (Dude. This is so NOT good.)
Next week! Our new TVD recruits return from some summertime R&R and start delving into their record collections. See ya back here then!
I love the fact that the title of their first EP is, "Llanfairpwllgwngyllgogerychyndrobwllantysiliogogogochynyg ofod (in space)". Y' know, strictly for marketing reasons.
I'm more than aware that this Indie/Britpop theme running the past few days is pretty '101', but one look at the downloads for these postings reveals something else entirely--they're climbing through the roof. I'm already 61% over my 40-gig ceiling for the month. Nice work, folks.
Surprising as it is, one thing I haven't noticed over the years is the sight of the little human figure at the center of this cover. The '90's were a little fuzzy, so there's that.
...and this is the one that kicked it all into high gear for me. Yet just as I was getting Liam's snarl right ("...live foreverrrghrr...") I was in the murky hotbed that is/was New Orleans for the Jazz Festival and quite ready to sever off a digit if it meant that I'd be able to hear something or some band with an English accent through the din of what I like to call 'Cajun Polka'. As it was, out of desperation, I was indeed forced to sheer off the legs from my pants into shorts and the arms from my black shirts into short sleeve shirts on this, my first trip down thea'. Place gets damn hot, it does.
For the life of me I can't figure out why debuts don't arrive like this one any longer--all cool amidst the heat.
It'd be a mistake to think that we here at TVD are pining away for the day when vinyl makes a glorious return as the format of choice for recorded music by the music industry at large. We're realistic - it ain't gonna happen. And you know what? We're FINE with it and here's why...as I wrote a a while back, these days vinyl is being lovingly pressed and manufactured for an audience that APPRECIATES it, not for mass(es) consumption, but for the few blankety-blanks like me (and perhaps you) who know a bit better. Or appreciate the warmth and care. Or who just don't mind getting up from the couch to turn the thing over. It's a joy.
So, imagine my joy when the Concord Music Group came calling--would TVD like to listen to and preview their new and ever-expanding collection of vinyl that they're making available for the blankety-blanks who are the card-carrying and attend-all-the-meetings vinyl fans? How could we say no?
I have a confession however, despite my years of jazz drum lessons with Drum Master Don (whooo, do I have stories...) I always found jazz recordings to be somewhat dense and muddy--somewhat unfulfilling to my ears. Nothing seemed to better the live jazz club experience for me. But to be fair, I'd never pulled the shrink wrap off of a new jazz LP. They were always the well-worn (or is that well loved?) LPs from my dad's library or heard elsewhere. But hoping I'd do a review, Concord sent me a box of five...and honestly, what a revelation. Clarity and warmth without pop or hiss. Dynamic highs and subtle lows. Did I say a revelation? I typed my Concord contact back, "Say, I have an idea..."
This year as with every year, Vinyl Record Day falls on August 12, and in conjunction with that day The Concord Music Group and TVD are giving away the five LPs sent to TVD HQ. They are: Sonny Rollins - "Saxophone Colossus", Bill Evans - "Waltz For Debby", Yusef Lateef - "Eastern Sounds", John Coltrane - "Soultrane" and Theolonius Monk with John Coltrane--all brand new, sealed, heavy weight vinyl mailed right to your door.
Now, here's what we need you to do to win this glorious 5-pack--in the comments section we invite you to sing the praises of all things vinyl, be they your memories, Vinyl Record Day-related, the vinyl marketplace as it stands today...or, simply whatever you're inspired to write. We want to hear it. We'll choose one winner for the 5 LPs ON Vinyl Record Day, August 12th, so there's plenty of time for a thoughtful comment or thirteen. Also, as an added bonus, the winner needn't be in the continental US, so all of you no matter where you plug into TVD have a shot a winning. So, get to pontificating! (And remember to leave us some contact info too!)
Many thanks to the Concord Music Group for sponsoring this TVD giveaway. Go check 'em out too...you'll find plenty to read at their site and plenty to pine away for.
I had a whole week of TVD goodness in the queue until last night when over dinner at the HQ, a documentary on UK Indie was airing in the background and I thought to myself, "Man, that seems like it happened AGES ago." See, I was a pretty rabid Manchester/Indie fan back in the day. It was all Melody Maker/NME/Q for me over anything US-centric and expenditures on music skyrocketed as I fell hard and fast for all things baggy. But like all good musical trends, I beat it to death to the point where if I never heard two-thirds of those bands ever again, I'd be fine with it.
But I surprised myself last night in thinking I haven't listed to say, The Stone Roses for years and years. And another insight which follows on the heels of the last two weeks of posts, the first Roses LP came out in--'89! Why, The Stone Roses are an '80's band. For the life of me, I've never thought of them as such. Hm.
I purchased this record on the strength of the reviews alone never having heard a note. But as the opening of "I Wanna be Adored" swells up and the drums and that guitar line kick in, I fell right down the rabbit hole.
My eyes are closed and I'm pretending I'm eight again. Not ten, but two long years off. But I'm in my office--bells are ringing, calls are being missed, emails bounce up and down. But they're not, really. I'm elsewhere--summer synapses firing. Sandy, salty, sunburned. Elsewhere an elixir. Did the air move? Only a little.
I dreamed of space aliens last night. Androgynous ones. With operatic tenors. And new wave leanings.
Trouser Press: One of the 1980s' most profoundly bizarre characters to emerge through rock music, the late Klaus Nomi specialized in unexpected mixes of vocal styles in anomalous settings. The Bavarian-born singer's awesome falsetto and dramatic tenor were equally applied to classical music and rock'n'roll, producing startling records that ramble wildly from high-pitched operatic vocals accompanied by a synthesized orchestra to ultra-stylized pop and warped interpretations of rock oldies. Nomi's records stretch from hauntingly beautiful (Purcell's stunning "Cold Song") to hysterically funny (a somber reading of "Can't Help Falling in Love," a languid dissection of "The Twist") to straightforward Sparks-like big band rock ("Simple Man"). His final album, a compilation that also includes a live performance, is the one to get, an utterly unique creation that defies you not to fall under its wonderful spell.
TVD screened The Nomi Song last night and obviously it's still on my mind. A story of pure self-invention on a scale I've never encountered. KISS comes off the stage, removes the make up, and they're a bunch of guys from New York. Nomi was something ...else ...entirely. And that voice--simultaneously angelic, ethereal, otherworldly...yet, camp.
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.
OK, so - put your fingers realll close together without them touching. Alright, now closer. Closerrr. Now, see that space right there that remains between your fingers? In THERE exists my taste in music amid the entire universe of what's out there. (I like to think there's still a universe within that space, but still.) So, imagine my surprise when a tune on the RADIO no less, stops me in my tracks for a swoon, all 1979 New Wave-like. "Walking With A Ghost". I walked around like a zombie (and a ghost) singing this to myself for WEEKS. And the whole record's damn good too. Those Quinn sisters got it.
