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The thing about TVD's fourth favorite producer, Tony Visconti, that I appreciate in a very different vein from yesterday's producer extraordinaire, Roy Thomas Baker, is that Tony doesn't come with a particular 'sound' per se. Where RTB seems to impart his stamp on a recording, Visconti allows the artist to breathe in the studio. "My policy is to interfere as little as possible, but to draw out the best in the artists I work with, especially the singers. The best part is towards the end, when I sit at a mixing console and put it all together. It’s actually a very nice occupation."
Whether he's functioning as coach, mentor, or conspirator, his crystalline recordings capture just that - the singularity of an artist's unique confection. And I should add, he's worked with some very fine songwriters, indeed:
Time was when the announcement of a particular producer for an artist's next recording project was indeed heralded as NEWS. Labels and artists would jockey for position to marry a producer, and most importantly a producer's SOUND, to an upcoming release. As such, yours truly followed the hiring of a producer with 'inside baseball'-like interest.
And that interest hasn't abated, despite the role of producer all but being ruled out of the current hype-equation. So, this week, we'll go about remedying the current brand of under-appreciation a bit as we count down TVD's Top Five Producers. Ever.
Coming in at number five is: Roy Thomas Baker. As Mix magazine noted, "Baker's name...will forever be associated with Queen albums such as Queen II and Night at the Opera, which contained the track “Bohemian Rhapsody,” the band's ode to rock 'n' roll bombast, and was filled to the brim with overdubs. It was the highpoint of what Baker calls his “kitchen sink production time: Any idea that we had, we just threw it on.”"
Indeed, the hallmark of his production style is the multilayered, operatic vocal approach which shines on not only Queen records but on such diverse releases by Nazareth, Guns N' Roses, The Who, The Rolling Stones, David Bowie, The Cars, Foreigner, Journey, Pilot, Ozzy Osbourne, Mötley Crüe, T. Rex, Devo, The Stranglers, Dusty Springfield, Starcastle, T'Pau, Yes, Cheap Trick, Gasolin' and The Darkness. Most recently he has worked with The Smashing Pumpkins on their 2007 album, Zeitgeist.
This week we catch up with TVD's very first 'First Date', Los Angeles singer/songwriter/siren Leerone, who clues us into what's spinning on her turntable these days:
Strange Brew Some things are hard to define. You know that moment, when something you see or hear for example, stops you in your tracks and you’re just taken? Transfixed? And you can’t really explain why but you know that you’ve been touched by something outside of yourself? I love those moments. The following songs had that very affect on me. Well, that’s not entirely true. Some of the tracks merely tickled my musical taste buds. Regardless, they all have a special place in my sonic library and have been among my recent listens.
Glasser - Apply (Mp3) She performs with an interpretive dance troupe, need I say more?
Leerone - Empty Houses (Mp3) Yes, a shout out to myself. This song doesn’t get as much love as I think it deserves. It’s like the well known archetype: the pretty girl in high school who wears glasses and is a book worm and no one notices her but when they do...
Join TVD this Monday (11/10) when our pal and previous 'First Date' John Foster aka Sad Crocodile joins Quote and Sean McArdle for a wee bit of music making at Iota. Sure, it's late notice and in truth John had packed up for the winter after recording but just couldn't say no ...so come on out for what should be a wonderful night.
Those readers with a sharp eye will recall seeing this cover in the past and note that I've been slipping in L.E.O. tracks wherever possible. Simply put, this is one of the finest releases I've heard in some time AND bolsters Angry Old Man Rule #3: Quit ripping off the '80's and go about ripping off the '70's!
In this scenario, the overarching influence is E.L.O., but L.E.O. (get it?) aren't merely ripping off Jeff Lynne's stylistics and production nuances, just merely incorporating them as their own in a (semi-)modern context and writing entirely new music that feels as familiar as an LP whose grooves are worn beyond warmth.
Not Lame's blog had some background a little while back, "Among the collaborators assembled here as L.E.O. are vocalist Andy Sturmer, from nineties power pop-icon Jellyfish; singer-guitarist Mike Viola, formerly of the Candy Butchers and co-writer of the Oscar-nominated movie theme "That Thing You Do!"; multi-platinum producer John Fields; Papas Fritas founder/producer Tony Goddess; Matt Mahaffey of the acclaimed one-man-band Self; Jason Scheff, vocalist and bassist for the legendary band Chicago; singer-songwriter Paula Kelley; Black Crowes drummer Steve Gorman; and even the Hanson brothers. This wildly eclectic crew was brought together by Boston pop auteur Bleu (William James McAuley III), who whimsically decided to embark on this unique project four years ago and managed to cajole his many far-flung pals to join him for the ride."
I've been pretty vocal on this blog about being hyper-nostalgic and there's been no loss of the sentiment as I've prepared to witness the closing of Orpheus Records in Clarendon...another thing that's been well chronicled in this space.
But last night comes word that, despite the big going out of business sign and the lowered prices leading up to last weekend and this weekend's dollar days--Rick may have been granted a reprieve for a little while and may be able to stay open through December and NOT shut forever this coming Saturday.
So, he asked me last night what I thought -- should he stay there through December and selfishly I thought, "Well, YEA!" but for practical reasons he wondered if the loyal regulars and semi-regulars would embrace the notion of things going back to the way they were for a little while and then more close-out sales in a month or more. Here's how Rick put in on the Orpheus website:
"In the 'better late than never' category we are going to attempt to communicate with others. It would be nice to be able to let you know what's going on here. It would also be nice to know what more of you are thinking. By that I mean what you think about the short term future of Orpheus Records. After all the proclamations about our demise we have another reprieve from the landlord for December... What do YOU think?? Would you like to see Orpheus around another month or so? Should I stay or should I go NOW? (apologies to the Clash) Please, let me know. If I stayed would you like to see the Vinyl Ink stock that's been sitting here for years?? Or do you only want me to put out stuff for a dollar. Most of the stock that is not currently available to you would NOT be a dollar. We only have a little time left. I'd like to use it to our mutual advantage. Talk to me!!!"
So, TVD readers and Orpheus regulars and (semi-regulars), here's an opportunity to directly influence what happens over the next month or more...let us and Rick know how you feel. And I mean NOW as a decision needs to be made...another month? Wanna see that Vinyl Ink stash hit the bins? Or stick with the close out dollar days? SPEAK UP!
Update 11/7:A number of online media outlets have picked up on TVD's/Orpheus Records' call for feedback. Washington City Paper has a piece here this morning, DCRTV sheds some more light here (scroll down a bit), and our blog pal IntangibleArts shares his thoughts on the topic here. TVD will report back next week on how all of this has shaken out, but in the meantime please continue to make your voice heard.
Inexplicably, the '80's are back with a vengeance. And for about a moment or two, I was charmed. But folks...a polite reminder -- the '80's were a reaction to the swagger of the '70's. The DIY aesthetic was a reaction to the overblown pomposity of an era. But '80's for '80's sake is a reaction to well, being fresh out of ideas. (And the 'ironic' boat shoes? Just a tip: weren't cool then. Even worse now.) Rule #3: Stop ripping off the '80's. Rip off the '70's.
I received an email to TVD HQ a little while back which read something to the effect of "we hear you've blogged about Minnie Ripperton's "Loving You" and that you're a fan. Please check out our artist's rendition, etc., etc..."
I was sort of scratching my head, really. I mean, I guess I included "Loving You" among some '70's posts, but a fan? That seemed strong. But more worrisome was the notion of someone covering that song with its myriad of octaves. First, that person would have to have an incredible range, and even IF that was the case, that tune could easily tumble right into the schmaltz category...and not in a good way. But I clicked the link anyway.
And was pretty blown away:
For a week when we're discussing the hit or miss (ok, largely miss) nature of the music industry these days and the artists and bands foisted upon us, along comes Minnie as a reminder of genuine, non-Protool talent. And none too soon, as well...
"Hey Everybody! I'm Minnie Murphy and I'm so excited to be a featured artist on The Vinyl District this week! My first single, "Take Me To Texas Tonight" is being released to radio right now and I don't know what to expect next. I'm very proud of the work and I really hope that people like it. It's taken me awhile to get this far but this song has stood strong for 8 years now and I'm just so excited for the world to finally hear it. Check out more of my music at myspace.com/minniemurphy. Thanks so much for listening."
Benjamin Franklin was quoted a saying that one of the greatest gifts God gave man was the appreciation and for his or her own voice. I'll go one better and propose that the greater gift is our own voices hung on a song. Or a clever lyric. With a wise twist. Or not. Maybe it's just something sweet. Or dirty. Or sexy. But wherever it resides, it's in a warm bed going toe to toe with tunefulness. Rule #2: It's the melody, stupid.
I've been digging seriously since the late 1980's but when I opened my own used record store in 2003, I had to take my digging to the next level. I currently own Som Records at 1843 14th Street, NW in Washington, DC. If you're reading this blog then you probably already know what a digger is, but I will explain anyway:
A digger in record collector parlance is someone who constantly looks everywhere and at all times for new and interesting records. These records can be for DJing, sampling, playing at home, trading for other records, reselling, whatever.
Sitting at home a surfing e-bay and GEMM for records does not make you a digger. Going down to your local record store to buy the latest Belle and Sebastian LP does not make you a digger unless you have to go through EVERY record in that shop before you leave. Getting up before dawn on a cold winter's morning (after DJing the night before) to get to a flea market in West Virginia that may or may not even have records might make you a digger.
Slowing down whenever you see a yard sale and training your wife to spot record boxes at 35 miles per hour might make you a digger. Diving through DUSTY piles of ten foot vertical stacks of records in a shed in the back of "antique" mall in rural Florida while you battle heat and insects to find 2-3 good records might make you a digger. (OK, enough Jeff Foxworthy retreads, let's talk records...)
In this space I'll be featuring a new record every month. I will explain where and how I found that record and what that record is all about. Why I like it, why it's valuable or interesting, where I found it and how I found it. I'll also give you a brief history of the album (when possible) and give sound clips.
Sometimes people ask me in the shop "where do you find your records?" That is a question I would never answer completely. No true digger (no smart digger) would ever reveal all of his secret spots and contacts. "Just go down to the Goodwill on every second Tuesday of the month at 11:15AM. Knock twice on the back door and ask for Willie. He'll show you into the Blue Note storage room where you can grab an armload full for ten bucks."
In these days of e-bay hoarding and record flipping revealing all of my secrets would not be prudent. I can tell you that I shop for records at record stores, thrift stores, record shows, flea markets, estate sales, antique malls, online, in newspapers, at friend's houses, at relative's houses, at stranger's houses, in my own house, at book stores, church sales, library sales, bake sales, on the side of the road (really) and just about anywhere actually. My digging descriptions each month may not have ALL the details you want but will hopefully give you, the reader, an idea of how it all went down. To me there's nothing more exciting than finding a record that you've never heard of that's been collecting dust in someone's basement for over thirty years and being the first person to play that record since 1975. When that record happens to be great and/or valuable then you've struck digging gold. I better stop typing now, there are records out there that need to be found... _____________
Thanks go out to Stefan Glerum for use of his illustration at the top of this post which will adorn Neal's monthly crate dispatches. Check out the rest of Stefan's amazing work here - and he's even got prints for sale!
Last week's 'First Date'Fredrik return again this week with a little something under the arm for TVD readers. To celebrate the release of their new video, "11 Years," TVD's got a vinyl copy of their new release "Na Na Ni" to award to the sharpest, wittiest, vinyl-related commenter of the bunch. And that winner needn't be in DC, so all you visitors from far-flung destinations all have a chance as well to snap up the vinyl from the Swedish popsters. (Remember to leave us some contact info too, please...)
If you're a regular reader and familiar with the continuing TVD narrative, you were witness to a brimming over with disgust last week for about 97% of the artists and bands that are pimped daily by Pitchfork and Stereogum respectively. It depresses me to no end to think that the kids coming up today will have a generation of half-baked bands or pseudo-talents to recall as their collective 'first's.
It depresses me even MORE however, to be referring to the 'kids these days' as it seems I was one of 'em just an hour ago. But to hell with it - I'll embrace it in a new TVD feature: Angry Old Man, wherein we attempt to re-raise the bar that has been dropped precariously low over the past say...ten years. (I could go back even farther, but alas, I'm no spring chicken and time's a-wastin'...)
In the summer summer of '76 I was a whopping NINE years old and one of my best buddies was my pal Nick who, if I recall correctly, was two or three years older than me--a whopping 11 or 12. Nick had this odd set up for a bedroom in his home as his parents, brother and sister all had their bedrooms upstairs while Nick had a precursor to Baby's First Bachelor Pad with his bedroom on the ground level and the ability to come and go as he pleased. This totally blew my mind up - the FREEDOM, I'd think often. Nick was also in possession of more than a few cigarettes and Playboy magazines which solidified his rep, at least in my eyes, as one cool kid. My folks weren't similarly convinced.
It was that summer when one late afternoon I found myself sitting in Nick's disorderly downstairs and the kid put a copy of KISS "Destroyer" in my hands and dropped the needle onto Track One -- "Detroit Rock City". The sound effects, the radio in the diner with its subtle build up into the song knocked me the hell over. Like the jazz standard I recall thinking, "how long has this been going ON?" I was transfixed to say the very least. Grabbed around the neck and THROTTLED was more like it.
A tiny bit later it was like I was taken out to the playground and given a serious rock schooling as Sweet's "Fox on the Run" drilled its candy confection into my cranium. Another good friend Carol had an older sister who introduced her, then us, to BOWIE. We'd sit in Carol's room among her doll collection and listen to "Space Oddity" over and over with the drapes shut tight. Then Alice Cooper...imagine - Alice is a GUY. No waaaaay. And "Bohemian Rhapsody" ...one of my very first 45's b/w "I'm In Love With My Car," a Roger Taylor composition that got as much play as the operatic A side which even my folks found oddly compelling for all of its classical music strains.
So, what's the point you ask? You were NINE. Where's the tie in with the Pitchgummers?
Well, inherently, THAT's my first point. That 'something' is missing. That stomach-twisting, chill inducing 'otherness' is all but nonexistent this morning and most mornings on the Pitch/Gum frontpages. Ask yourself - is anything reaching through the monitor and sending your life into an upswirl? You needn't be nine to be simply excited and enraptured, and a whole generation is knobbing at the teet which isn't even delivering this one, BASIC nutrient. The ONE ingredient careers are built and sustained upon. (U2, anyone?) Really, if I'm thinking through mathematical progressions to get to the center of your Protools lollypop, you're doing it all wrong.
Unlike last year's Halloween-themed playlist which was an almost obligatory rummage through the Goth LPs, this year I decided to REALLY scare the (bat)shit outta ya'.
Earlier in the week, Ms. TVD forwarded to me the blog post below from 94.7's web site. For those of you not local to DC, 94.7 'The Globe' is our 'classic rock' radio station and the author of the post is local radio DJ/local legend Weasel who's been on the air here in town ever since my arrival back in '85. I think what Weasel has to say is both timely and pertinent for reasons I'll get to shortly. Give it a read:
RIP: Record Stores Everywhere Once upon a time when we were all very young and times were different people used to hang out in record stores. Nick Hornby wrote about it in High Fidelity and John Cusack and Jack Black in the movie made it seem so romantic. Do you think the Nick and Nora's Infinite Playlist generation have any idea? I hate to admit it but I have probably spent half of my life in these stores as well as their 8 track, cassette CD and even VHS video tape and DVD successors.
They actually had 7 inch slabs of vinyl with a big hole in the middle called 45 rpm singles where you could get 2 songs and they were only 69 cents at the Korvettes. And you could get Meet the Beatles in mono for $2.69 or stereo for $3.69. But of course if you were looking for Miles' Kind of Blue or Brubeck's Time Out or even the Weavers at Carnegie Hall you had to look elsewhere. There was always the quest to find the new and exciting adventure the place where the real records were.
I was too young to remember the legendary Commodore Record store on 42nd Street in Times Square where Billy Crystal's uncle Milt Gabler sold Jazz records before he recorded Billy Holliday's Strange Fruit and Bill Halley and Buddy Holly. But my uncle Seymour regaled me tales of treasures that awaited in that store for a culture that still spun at 78. It still seems so romantic to me now.
For me it was the Original Sam Goody store at 8th Avenue and 49th street and whenever I would into the city to visit my Dad I would make sure he would take me there. Now this Sam Goody was not the Mall store that Trans World Entertainment runs today but New Yorks ultimate catalogue store at the time. They had everything from Charlie Parker's Dial recordings to Leadbelly's Folkways sides to a healthy dose of Lenny Bruce's albums the Tony Glover Harmonica Instruction Record and even a few Hebrew language instruction records for good measure. For a kid with evolving tastes it was heaven.
The record store never left the boy especially during my radio career at WHFS where it seemed like I spent every Saturday afternoon during the 70's and 80's doing 5 hour remotes. Memories of the amazing and incredible Howard Applebaum and Kemp Mill or Page Hubbley's Penguin Feather or the legacy of Max Silverman's Waxie Maxie which played a roll in the founding of Atlantic Records. And sometimes we would even wind up in a Harmony Hut mall store. It seems strange lugging boxes of a 100 of our own records to a record store but that's what we did. And a 100 pound remote set with 2 turntables microphones and a mixing console which would usually require at least 2 people to carry in and out. The phone company would install high quality 15 kHz stereo remote lines so we could actually play the records from the store. And of course the reward was the crowd surging our remote set up and usually knocking whatever record we were playing off the air. Our remotes were so much fun and were as a big a slice of live radio that you could ever get.
When the regional chains started to fizzle out they were soon replaced by the mall stores which would usually only stock the top 40 of each catagory. But soon Russ Salomon's California dreaming started to spread nationwide. Tower Records brought back memories of that early Sam Goody and had a staff that lived breathed and eventually died with the records and the music. Alas Tower too is no more but for awhile the catalogue store lived on. Maybe Sir Richard Branson and the Virgin Mega Stores are the last hope but not here in DC.
The news keeps getting worse. The used record stores are going out business too victims of rising rents and the internet's more conducive business model. When you're brick and morter you draw from your local community but on the internet you can reach Wreckless Eric's whole wide world. And with today's mail order shipping it's a lot easier just to put an ad in Goldmine.
So bye bye Yesterday and Today and most recently the long running Orpheus. And we remember Bialek's Discount Book and Record where I once hosted a Halloween Toga party and did a live broadcast with Dave Marsh when he wrote his biography of Bruce Springsteen. And now Olsson's is gone too. Coming up I'll share some memories of Olsson's that involve a Christmas tradition straight out of an O'Henry story. And we'll talk about the fact that as record and music stores are gasping their last breath an interesting phenomenon is happening. Vinyl records are staging a huge comeback especially with younger generations.
Even though it's tough to say goodbye RIP: Record Stores everywhere. ________
Although I've been saying it for some time now, this weekend and next mark the last 4 days that the aforementioned Orpheus Records will be open for business and what's ever left in the bins at this point (which is PLENTY since my previous visit there last Saturday) is priced at a dollar. That's right, ONE dollar. All of it, no matter what the price ONCE was--is a dollar. One greenback. Uno clam. A single sawbuck. And there's even live music this Saturday night (11/1). Doors open at noon...and that guy with the crates? That'll be me...
I imagine that however long this blog exists, this record will make an appearance in the heart of the Fall each year. This LP, from another jaunt with my dad to the Record World in Seaview Square Mall (a store I'd ultimately work in, actually) typifies what I was referencing earlier in the week--that subconscious seasonal soundtrack.
In my mind, the trees shed their leaves to "Oblivious" just as it was when this, "airy yet somehow lush (LP) filled with lovely melodies and thoughtful, impressionistic lyrics" (as Trouser Press noted) made its imprint for the first time. From "We Could Send Letters" to now "We Could Send Emails," its timelessness is near impenetrable.
...AND will outlive anything currently on the front pages of both Pitchfork and Stereogum this morning. (Sorry - couldn't resist..!)
Queen have announced that they will re-release all of their studio albums on vinyl over the next two years. The album packaging will feature original album details as well as bonus posters and pictures. This will be the first time all of Queen's albums will be available on vinyl. The Hollywood Records re-releases will span the band's career, from their 1973 debut self-titled album with singer Freddie Mercury to 2008's 'Cosmos Rocks', featuring Paul Rodgers on vocals.
Hollywood Records will release a new "wave" of records every six months. “The First Wave” consists of 'A Night At The Opera', 'A Day At the Races', 'Sheer Heart Attack', 'Queen' and 'The Cosmos Rocks'. “The Second Wave” will be available in spring 2009 and includes an edition of the rare gold-foil stamped 'Queen' album, 'Flash Gordon', 'News Of The World', 'A Kind of Magic' and 'Innuendo'.
Meanwhile, the band have announced that their concert film 'Queen + Paul Rodgers: Let the Cosmos Rock' will screen in 425 cinemas across the US on November 6. The film features footage from their recent free concert in Kharkov, Ukraine’s Freedom Square, which drew a record audience of more than 350,000. For tickets and additional information, visit www.FathomEvents.com. (Via NME.)
The thing about TVD's fourth favorite producer, Tony Visconti, that I appreciate in a very different vein from yesterday's producer extraordinaire, Roy Thomas Baker, is that Tony doesn't come with a particular 'sound' per se. Where RTB seems to impart his stamp on a recording, Visconti allows the artist to breathe in the studio. "My policy is to interfere as little as possible, but to draw out the best in the artists I work with, especially the singers. The best part is towards the end, when I sit at a mixing console and put it all together. It’s actually a very nice occupation." 
Whether he's functioning as coach, mentor, or conspirator, his crystalline recordings capture just that - the singularity of an artist's unique confection. And I should add, he's worked with some very fine songwriters, indeed: 
