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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.)
So, I railed pretty hard against the Pitchfork and Stereogum artists yesterday and I've given it some time since then, ...thought it over, ...allowed cooler heads to prevail ...and well--nothing's changed. In fact, I probably didn't express my disdain enough.
But if you really wanna get ticked off, try heading over to RollingStone.com or picking up their dead tree edition. To the Pitchgummer's credit, at least they're TRYING to tap into new talent. The 'Stoners can't even nail that one down and actually let the PitchGum network do all the leg-work to parse the alt-indie school kids. By the time Rolling Stone's got the up-and-clubbers anywhere on their radar, they've been built up and torn down by the same machinery that denounces and picks apart their very success. Maddening.
All of which to say, we've got new feature here at TVD which we call -- oh,... wait...that'd be getting ahead of myself now, wouldn't it?
For now, a bit of good news: Prefab Sprout will release a new album in the early part of next year. The album, the band's first since 2001, has the tentative title 'Let's Change the World With Music - The Blueprint' and will include songs with the working titles 'Let There Be Music', 'God Watch Over You', and 'The Last Of The Great Romantics'. (via Remember The 80's.)
"I remember standing in a coffee shop listening to 'Lust for Life' by Iggy Pop when this guy I don't really know comes up to me, kind of provokingly, and says - what the hell is this music about? I answered that I think it has something to do with love or possibly food. He didn't look too impressed by my short analysis and I figured that either he doesn't like me or he's just not a music fan. As it turned out he wasn't all that behind, because a little later when I interrogated him for thoughts on our music he really quickly came up with these three: random animals, adventurous hurricanes, and cream drunk from a straw. Given he had only heard the album once or twice, I think that's a pretty colorful description. The one thing I wish he had included is the word 'wood'. Especially in its Finnish version - 'puu'. Well, some things are better left unsaid, I guess." -Fredrik Hultin
This morning Pitchfork reviews the new Kaiser Chiefs record and gives it a fairly decent 6.8. But, know what? I just don't care.
I don't care about 97% of the bands Pitchfork goes on about. Same with Stereogum. The vast majority of it: bo-ring. And despite my well-worn proclivities to appreciate music alternative to the mainstream--I'm simply starting to: just not care. And it's obviously not for TRYING to care or reading the alt-indie-blogs...because I do - daily - HOPING for some savior. Or, a new BREED of saviors...but whoa lord, it ain't coming.
And I'm starting to get pissed, frankly. I think of 'kids' today getting excited over a new Kaiser Chiefs release and I wanna slam my head with a hammer. I'd like to write it off as "just getting old" because, really - it'd be easier that way. But when so few bands of the PitchGum generation sound marginally, oh - I don't know...fresh? Interesting? Compelling? Have something--ANYthing to say -- it's not about being old, it's simply about: knowing the difference.
And really, I shouldn't knock the Kaiser Chiefs. They're actually 'ok'. It's just that: I don't care. (OR, I haven't been made to care...there's a difference.)
And despite yesterday's claim to forego "theme weeks" here at TVD...suddenly there's a theme a-brewing...
I overheard a news report this morning, amidst the hiccupping and burping of the coffee maker, which involved a study on the brain and the various consciousness levels we inhabit during the day. A contrast was being drawn between two competing mental states--one being the detached state of awareness which exists when we're doing routine tasks--commuting to work for example. The other is the more attuned level of consciousness, where you remember to pick up your dry cleaning during that routine trip to work--and the mental machinery that kicks such detail-oriented perceptions into gear.
Leaning against the counter as the coffee maker sputtered to a halt and the cats did their dance for their morning meal, I thought that my musical inclinations are no different than that morning commute to the office. I mean, how many times have I (and have you) arrived at work barely being able to recall the commute, but gosh darn it, there I sit barely recalling anything but throwing a coat on and then--boom--walking through the front door to the workplace.
There's an interesting subconscious parallel here to what music I choose to listen to in particular times of the year (a topic that's been covered here before, I believe). Somehow, the seasons still continue to inform my personal soundtrack...quietly, subconsciously like Spring forward/Fall back-clockwork. It's only when I'm contemplating this here blog and material for the coming weeks, do I "pick up my dry cleaning" or rather, break out of the patterned reality and interject task-oriented musical selections far from my predispositioned norm.
Which is a very long way to say that this week and for however long we're returning to being comfy. (A Fall's back fall back, if you will.) So, pull up a seat. Coffee's on...
"Hey, did you know that I'm/Always going back in time..." I was humming on Monday and maybe a few of you were too as a result. And it's true, the evidence is in and I've come to the realization that I'm hyper-nostalgic. Why, this week alone here at TVD was spent quite like so many days as a kid--listening to tunes, scouring LP lyric sheets, and staring blank faced at LP covers. (Normal fare for TVD perhaps, but man, good times indeed.)
And it's even worse than I make it out to be...why, I'm nostalgic for 5 minutes ago. (Truly, that was one schweet pot of coffee I just brewed.) I'm even nostalgic for times that were tough. Take that one Fall where my grandfather died for instance. I recall driving to his funeral with my mom and dad, while I in the backseat was held in rapt attention by the latest issue of the Aquarian, New Jersey's then alt-weekly, and every so often gazed out at the lovely trees a-turnin' all shades of orange and red and feeling quite oddly alive and vital - perhaps all of 18 at the time. Maybe I can simply force-fire those endorphins to flood at will simply by looking. Back.
I'm nostalgic for this very second, even. Another crisp Fall morning'll do that. I'm nostalgic for yesterday, last summer, last year--underscored with what are now actual ARCHIVES here at TVD where I can go back and reread what I wrote over a year ago and think, "Sheez, I'm even nostalgic for that bullshit I posted last October. Go figure."
Freed the daytime with indifference Watch the twilight starve the sun Shuffle home against the darkness Turn the key and bite your tongue And please be strong You don't know it but you're coming right along
Call belated, leave a message Wait for hours just to talk Feel like slowly getting blown off Stretch your eyes, invite the clock And please be strong You don't know it but you're coming right along Please be strong You don't know it but you're coming right along
Cry as if to say you're sorry Sight a life and hate your own Try to think of what to mention Leave the television on... And please be strong You don't know it but you're coming right along Please be strong You don't know it but you're coming right along You don't know it but you're Coming right along Coming right along Coming right along
Deleted Scenes is a four-piece indie rock band living in DC and Brooklyn, NY. We met as kids growing up in Maryland and have been playing together under various guises ever since. The songwriting, a collaboration between Dan Scheuerman (vocals/guitars) and Matthew "Fatty" Dowling (bass/organ/vibraphone/flex-o-tone), is strengthened by the undeniably precise musicianship of drummer Brian Hospital and guitarist Chris Scheffey. In 2005, we recorded a four-song EP with Billy Gordon (of J-Roddy Walston & the Business) in Baltimore which featured songs Dan wrote at the end of college, and which Fatty helped hone and arrange with various instruments. In late 2006, the EP was released through Echelon Productions, and throughout the year that stretched across 2007 and 2008, we toured the country, and recorded a full-length record with J. Robbins (Jawbox/Burning Airlines) and L. Skell (the Rude Staircase). The resulting album is a diverse, propulsive, and deeply personal set of songs called "Birdseed Shirt." It is named after a passage in Jonathan Safran-Foer's novel, Extremely Loud and Incredibly Close. We are still finalizing plans for release and distribution.
I count the hours since you slipped away I count the hours that I lie awake I count the minutes and the seconds too All I stole and I took from you But Bonny don't live at home, he don't live at home But Bonny don't live at home, he don't live at home
All my silence and my strained respect Missed chances and the same regrets Kiss the thief and you save the rest All my insights from retrospect But Bonny don't live at home, he don't live at home But Bonny don't live at home, he don't live at home Save your speeches, flowers are for funerals
Hey, did you know that I'm Always going back in time Rhyming slang, auld lang syne my dears Through the years I am the backwards traveller Ancient wool unraveller Sailing songs, wailing on the moon And we were sailing songs, wailing on the moon Wailing on the moon.
Update 10/16: So, who's got your back? TVD - that's who. Due to the overwhelming response to this giveaway, Camila and Leisha have given us ANOTHER pair of tickets to give away--so that means we'll have TWO winners now for our Uh Huh HERE Contest. That's right--your chances of winning just got 50% better, indeed.
It's no mystery to us here at TVD that, despite hailing from the nation's capitol and maintaining a rather DC-centric focus, visitors to the blog arrive from all corners of the globe. (I mean, from ALL corners. Daily.)
So, we've often felt that much of the readership has been shut out of the local ticket giveaways we've sponsored. Sooo - in an effort to remedy that a wee bit, TVD presents our 'Uh Huh HERE' contest where YOU choose the city and venue in which to see the lovely ladies of Uh Huh Her do their thing live. The dates, cities, and venues from which to choose are:
October 24 - Theatre Of The Living Arts , Philadelphia, PA October 25 - The Norva, Norfolk, VA October 27 - The Roxy, Boston, MA October 29 - Irving Plaza, New York, NY
Say hello to us in the comments section and let us know where and when you'd like to see Uh Huh Her and we'll award a pair of tix to the most compelling comment-er. We'll take submissions 'til next Tuesday (10/21) and PLEASE remember to leave us some contact info! Uh Huh Her - Not A Love Song (Mp3)
This is our final installment closing out our “It Came From the North” theme week, and I hope you’ve enjoyed it. Americans take for granted their inalienable right to kick out the jams to whatever music they want. Perhaps you will be surprised and amused to hear that in Canada we have something called the MAPL system, a series of government-sanctioned regulations to maintain certain ratios of music with “Canadian content” on the airwaves. On one hand, that can be a good thing, giving home-grown artists a helping hand with gaining exposure. On the other hand, it’s a dictatorial measure to influence what gets played based on extraneous features, regardless of quality.
Of course I never knew about this MAPL business when I was growing up, innocently flipping on the radio and absorbing everything the federal government deemed fit to broadcast to thousands of impressionable little Canadians. I was raised on this stuff instead of whatever you Americans were listening to out there in the free-radio zone. Now I’m feeling conflicted… Do I passionately adore these songs because they’re so good? Or is it because I’ve been behaviorally conditioned to think so, salivating every time they come on the radio like one of Pavlov’s dogs? Does it even matter now that I don’t listen to the radio anymore? Let’s hear some objective opinions from our esteemed readers: Did Canadian radio raise me right? Or was my musical taste forever corrupted by arbitrary programming regulations?
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'.
