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
Our Seven Days of ROIR Records Vinyl Giveaways concludes today with The Stimulators' classic release, "Loud Fast Rules!"
Remember you have until next Monday (11/129) to enter any and all of our ROIR LP giveaways! Our thanks go out to ROIR for making the past seven days possible.
This record is a must for any self-respecting punk’s collection. After all, are there any three words that sum up the punk sound better than “Loud Fast Rules!”?
In 1977, after hearing The Damned, Motorhead and The Clash, guitarist Denise Mercedes returned from London and decided to start her own band. She recruited LES poet Patrick Mack on guitar and vocals, artist and fashionista Nick Marden on bass and, after trying out the likes of Jerry Nolan (Heartbreakers, NY Dolls) and Johnny Blitz (Dead Boys) on drums, settled on a then 11 year-old Harley Flanagan (Cro-Mags, Harley’s War). Soon the Stims gained a rabid fan club of the youngest rock ‘n’ rollers in the city and became regulars at legendary clubs like Max’s Kansas City, CBGB’s and Danceteria, sharing bills with bands like Richard Hell & The Voidoids, Bad Brains, Suicide, B-52s and The Cramps.
A long awaited re-issue on vinyl & CD of the celebrated ROIR cassette, the Stimulators’ Loud Fast Rules! is more than just a record; it’s a piece of New York punk history. “Loud Fast Rules!” is the Stimulators’ only full-length piece of work (their only other release being a handful of coveted 7”s) and it captures the band doing what they do best, playing a sharp, fast, energetic live set of catchy, feisty songs that mix punk with metal, reggae and good old fashioned rock ‘n’ roll. A perfect soundtrack to a slam dancing, pit slamming, pogo party!
The rules for our seven days of ROIR giveaways are simple—tell us your ROIR story or sell us on why a particular LP should be yours in the comments to this post and the most compelling to any degree will find the record in his or her mailbox in time for the holidays.(Please note - we can only ship within the US.)
We'll close all seven contests on Monday, November 29 and remember to leave us your email/contact info—important!—so we can notify winners!
Given the number and frequency of our ticket giveaways, I've often felt remiss that after a week or so of a build up, there's been scant follow through here—most likely stemming from not wanting to be just another review and photo site.
But if you've ever wondered, "Hey, how was that?" we'll try from time to time to provide some documentation.
This time, we've sent our friend and intrepid photographer, Erica Bruce over to The Posies show last week at the 9:30:
Alex Chilton was said to be rather cantankerous, but it's fair to say his ghost was smiling brightly on the 930 Club last week. His old Big Star bandmates, The Posies and their catchy power pop stylings were in town Wednesday night with another Big Star-influenced performer, Brendan Benson. The Posies, brought their usual energetic and interactive live set in support of their latest release, BLOOD/CANDYand supported Benson as his backing band.
Power pop bands should never travel far without a little Big Star, so it was nice to hear Benson, and Posies guitarists/vocalists Ken Stringfellow and Jon Auer deliver a mighty fine version of "September Gurls" during Benson's encore. In the wrong hands, power pop can be schmaltzy and ear-cringing. But when it's done right—as was the case Wednesday night—it showcases how, in the right hands, you can be reminded of all the reasons you love music.
It’s like watching horses run in slow motion, losing your footing while listening to waves crashing, like having your record player needle touch the surface of Suburban Nature.
Sarah Jaffe steps on stage. I'm pretty excited (hoof-beats in my head) at this point grinning in anticipation of one, a performance worth writing about, and two, the chance to see if her live performance inspires like my music-hunch-organ told me.
I love being right.
I love being pleasantly surprised.
Sigh. Both.
Her voice was everything I'd hoped. Clean, melancholy, and a little raspy when strained. It was lovely. The crowd was receptive as well—you could hear beer moistened lips mouthing her words, excited like me, to see her out of Denton,TX, out of Europe, and on our coast.
The Living Room is an institution in New York City and I've seen less than my desired share of shows here. I'll make the trip up again, however. Very soon. With her in mind. And I look forward to a full and beautiful set. (Thanks NYC, CMJ 2010, and The Living Room...)
Suburban Nature, Sarah Jaffe'sfirst full length album (available on vinyl this summer after its May, 2010 release)awards the listener with lovable, bedroom-strumming mixed with a voice that grips us like Dolores O'Riordan (The Cranberries) and thoughtful, stinging lyrics that folk so sorely misses. Sarah manages to take me places I didn't think to listen, unafraid to play one string and rely only on her voice—her confidence is disarming.
Check out her video for "Clementine" which officially debuted September 16th.
We all deserve a second chance and you're being granted that chance. Sarah Jaffe plays The Living Room (again) on Friday, December, 3rd and The Rock Shop(in Brooklyn) on Saturday, December, 4th.
You don't have to leave DC to catch a good show but, you will have to catch a bus to catch the next big thing in folk music this calendar year. This is clearly an ongoing love-affair. I'll report back December 7th.
