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
Following up on Lemmonex's guest post on Friday, we decided to do a TVD theme week around cover songs. We'll try to run the gamut as best we can, but today I'll start off with some old reliables—more obscure takes on my favorite rock classics of the 60s and 70s. Feel free to recommend your favorite covers for future posts in the comments!
This morning we’ve a Pop-Over with Jeff over at AM, Then FM...and an announcement into the bargain:
"AM, Then FM has been loitering on the Internet for more than two years now. I dig out some tunes from my collection and I tell a few stories. Which is more interesting? That’s your call.
AM, Then FM comes to you from Wisconsin, where I started listening to AM Top 40 radio out of Chicago and Milwaukee in the late ‘60s and early ‘70s, then moved on to free-form FM radio in the ‘70s and ’80s. Thus the name.
Radio was more diverse then than now. That’s why the posts at AM, Then FM careen from rock to R&B to soul to funk to pop to country to jazz. I heard it all back then, and I still listen to it all. What I should have bought then, I’m crate digging for now.
Which might explain why TVD has tapped me to be your guide to the ‘70s. We’ll be mining my old vinyl albums for familiar and less-heard cuts from that decade.
And what year preceded that decade? Enjoy five faves from AM, Then FM, all from 1969:"
Tuesday night I arrived at The Red and The Black in the Atlas District to see Girl in a Coma. It was about a quarter to nine and I figured I’d catch the end of the opener, Miss Derringer’s set. Fortunately for me they were running behind due to some problems with the sound system. I was able to wait in their newly redone patio in the back, definitely worth checking out the next time you’re that way.
At about a quarter after nine Miss Derringer took the stage. They are a band from Los Angeles and it shows. With a very distinct west coast sound that draws from the early years of Rock and Roll and Do-wop bands of the early sixties, they were able to keep the audience hooked despite the technical difficulties. There were many points where had they had a larger following would have been great opportunities for chorus sing-alongs.
While the rest of the audience bobbed their heads in time, I was transfixed on Liz’s outfit. While they were all done up in would be sad clown make-up, she was sporting men’s briefs as hot pants over tights. I asked their manager if I was seeing things and he said “No, she has plenty more (outfits) where that one came from.” Though her explanation came between songs when she said, “I love musicals and he (Slade, her husband and guitarist) loves mob stories.” This was also relevant to their stage presence overall, each song had movements and there were typically two sides being represented in each song, Liz was often the mediator. Tracks “Better Run Away From Me” and “Black Tears” were highlights of the evening despite her vocals often being slightly flat.
Girl In a Coma took the stage at ten. They quickly broke into their signature post-punk influenced pop. While the Smiths comparison is impossible to ignore, it comes across better on the album, though it could have been the sound system, yet again, that contributed to their sounding off. The majority of the set was played in earnest but kept missing the mark. At one point Nina and Jenn had to trade mikes because Nina’s kept going out.
It was apparent that the small audience there was there just for them (the maximum capacity is only 100) as there was more movement and words being mouthed across the room. They kept things relaxed with friendly banter between songs at one point saying “they’re just so sweet I want to sop them up with a biscuit” of opener Miss Derringer.
Both of Girl in a Coma’s albums have come out on Blackheart Records, Joan Jett’s famed label. Jett’s influence is also apparent and comes through in their sound and aesthetic. “Say” reached for more post-punk roots while “Road to Home” was relevant and relatable.
Following up on Lemmonex's guest post on Friday, we decided to do a TVD theme week around cover songs. We'll try to run the gamut as best we can, but today I'll start off with some old reliables—more obscure takes on my favorite rock classics of the 60s and 70s. Feel free to recommend your favorite covers for future posts in the comments!
