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
As we mentioned last week in our First Date feature with Jupiter One, they're here this Wednesday as openers for Regina Spektor at Constitution Hall—and we just got our hands on a pair of tickets for one lucky concertgoer!
We need to award these tickets by the end of the day TOMORROW so there's no time to ponder your wittiest response. Just get at us in the comments to this post (with contact info - important!) and we'll get at you with the tickets.
For those of you following us on Twitter we'll accept a direct message there or a general @VinylDistrict 'Gimme those tickets!'
Som Records,DC Soul Recordings, and this very blog are proud to present our THIRD Washington, DC Record Fair which arrives this coming Sunday!
We've got 25 dealers (at last count) from up and down the East Coast—which simply translates to: crates and crates AND crates of vinyl.
We've got cocktails and great food courtesy of our wonderful hosts Comet Ping Ping. We've got DJs galore including Animal Collective's Geologist. We've got Mingering Mike signing his original poster for the event.
And well, you've got me to help you carry your vinyl to the car. (I'm a giver.)
All this week we'll be teasing the show with some stuff you should expect to see and hear at the venue. Like, plenty of talk about music and bands that have shaped your life, such as our friend Frank's love for the King.
Crimson, that is.
"I have been listening to the varied “flavors” of King Crimson now for almost 40 years. If you are a fan, you’ve no doubt heard the band referred to as “thinking man’s metal” – but even as I realize they have been at once characterized as bombastic art rock (Court of the Crimson King) and obscure sonic meandering music (Thrak) I do not dwell on labeling them. The band disbanded and re-formed several time since 1969, but for me, they were always there… a sort of eccentric hum in the background (and sometimes foreground, as with Red) that spans most of my adult life, so far.
I’d have to say that for me, Red embodies all that I love about King Crimson. My original vinyl has long since vanished into the haze, but in the mid-eighties I re-purchased the “re-mastered” vinyl version and I still give it a spin every now and again. I also own most of the King Crimson library of sound on CD or digital forms. Red has it all – jazz elements, Fripp’s meandering sonic episodes, John Wetton’s bass and vocals, Bill Bruford’s rhythm and a melancholy sound that stirs me just as a good classical piece of music like Rachmaninov’s 2nd symphony does.
So, before we sample the King, it’s a good idea to list the various members of the band over the years (in no particular order): Robert Fripp, Peter Giles, Michael Giles, Greg Lake, Tony Levin, Bill Bruford, Adrian Belew, Michael Giles, John Wetton, Trey Gunn, Ian McDonald, Peter Sinfield, Mel Collins, Gordon Haskell, Ian Wallace, Boz Burrell, Jamie Muir, Davis Cross, Rick Kemp, Pat Mastelotto, Gavin Harrison, Mel Collins, and Andy McCulloch.
The current lineup consists of Robert Fripp (founding member), Adrian Belew, Tony Levin, Pat Mastelotto, and Gavin Harrison. I cannot begin to sample all that I love about the various permutations of King Crimson (Three of a Perfect Pair got me through some particularly rough personal periods) but I hope that these five songs either bring back memories for you, dear listener, or introduce you to a whole new library of astounding, at times frustrating, and absolutely essential King Crimson."
I first met Strawberryluna when we were exhibiting together at the The University of Maryland gallery show Sweet put on by John Shipman. After flipping through her work and making nervous chit-chat I ended up not getting anything. It was not because I couldn't find anything it was because I could not make up my mind what to get. Strawberryluna is one of those great poster makers where everything she does is awesome and you want to just roll around on the floor with her posters because the are so beautiful, lush, and fun. You can get a chance to be puzzle over what to get when she sells her wares at The Crafty Bastards Fair on October 3rd in Washington, DC.
(PS. I will be there as well selling posters. Look for the brand new banner that screams EL JEFE DESIGN!)
Name: Allison, but all of my work goes under the moniker strawberryluna. It’s just a name that I made up when I was first starting out because I liked the sound of it.
Age/Location: I’m in Pittsburgh, PA. I’ve always been a late bloomer, so age is sort of weirdly abstract to me, and I’ll leave it at that.
When and how did you get started doing posters: I had been printing small art prints at a weekly open studio night and a promoter saw a few and asked if I wanted to try doing posters for bands. Without thinking, I said yes, so I did my first poster in March of 2006 for a venue in Philly for the band Garbage. Once the reality of doing a real poster for a big band hit me, I was a wreck about it from start to finish. I was just feeling really out of my element, but at the same time I really wanted to do that poster. Despite the nervous sweats and feeling like I was winging it, I agreed to do more. And more, and more. And here I am today, doing posters for bands full time.
What's your favorite thing about being a designer in your city or town? The most challenging? Definitely being a poster artist in a city like Pittsburgh is challenging! We have only a few good shows a month that come through here, Which is insane as Pittsburgh is perfectly located between more common tour stops like Cleveland, Buffalo, Philadelphia, Columbus, DC, Baltimore, New York and Boston. So, part of the challenge is just based on the number of bands that play here. But another aspect is that while there are poster aficionados galore and an incredible print making studio open to the public here, the venues are about 10 years behind the poster scene and often show no interest in having posters made to promote their shows and/or give to their booked bands. It’s kinda weird to have to chase down the venue owners or managers when I’ve done posters through the band in order to make sure they have some posters for promotion, and yet, it’s quite common too. “Posters” must be some long-lost slang for “voodoo” in Pittsburgh and only a handful of venues still know it. I tend to do most of my poster work for other cities, though I’d love for that to change. My favorite thing about getting to do a poster for a show here in Pittsburgh is going to that show, that’s always so rad, especially when I get to meet the band that I’ve been working for. It usually ends up being very fun and friendly.
Do you consider yourself a poster DESIGNER or a poster ILLUSTRATOR? what is the difference? Oooooh, the dreaded question! For those that aren’t familiar with this potential division between designers and illustrators, it’s a big one in the poster scene. Amazing that there is a “poster scene” and that it’s big enough to contain scandal and drama, right? It’s true and true. I think of myself more as a designer, rather than an illustrator, even though I illustrate, if that makes sense. I definitely piece together my art and imagery for my posters, rather than sit down and draw out the entire layout all at once. I think that aspect makes me more of a designer. Even if it’s just layering textures and shapes to build an image, it’s not quite the same as “Hey, I just grabbed a pencil and did this drawing that I am going to put text over to make a poster!” It’s just a completely different approach, but a somewhat subtle one, really at the end of the day. To me, that’s the major difference between the two, though I’m sure another poster artist would have a different criteria and answer.
Describe Your Creative Process: Well, it really depends. A lot of times I do super simple, fairly small pencil sketches, not at all like the typical sketchy-sketch sort of rough looking drawing associated with the word “sketch” at all. When I do those, I might scan that into Illustrator, or I might just re-draw the line work in Illustrator, if I think that I can do so without ruining what I liked about the sketch initially. However, it’s just as likely for me to piece bits and parts together from the outset in Illustrator, and then use my small Wacom to draw elements as well. Often I am just trying to recreate what I saw in a flash, which is how I see a lot of the things that I want do as posters or prints. I’ll just be minding my own business, trying to sleep, driving, doing dishes, whatever usually involves not being able to jot down an idea, when a fully finished piece just flashes and explodes in my head, and then it’s a scramble to try and get it all down. I’m probably successful about 15% of the time on a good day.
What has been your favorite piece you have done (gig poster or art print): It sounds weird, but most times when I have finished printing a poster or art print, I’ve spent so much time with the design and production that I am done looking at it for a while. It’s almost like taking a long road trip with your extended family. It was a great time, but you are happy for some space when it’s over. That said, I’m still happy to look at my first Seasons art print (Winter 2008), which was originally an illustration for the 2nd Iron & Wine poster, I’m a sucker for overprints, teal & brown, and I love snowy, cold daylight. So, considering I’ve designed and printed that piece twice and still feel happy with it, I’d have to nominate that print as my current favorite.
Group(s) you wish you could do a poster for: (Current): I’ve been super lucky to have worked for a bunch of bands that were once on my dream list, a few of the ones I have yet to work with are: Radiohead, Fleet Foxes, and Phoenix. Any of those gigs would put me on Cloud 9. (Historic): Billie Holliday, Heavenly, and The Stranglers all would have been awesome bands to make a poster for.
You do wonderful gig posters but also stellar art prints such as your animal alphabet series. Do you find a benefit of doing one or other more? Did one naturally lead to the other? Dang! Thanks. It’s a funny little line to tread doing both rock posters for bands and art prints for…whomever, particularly the alphabet series. I find that although they could seem like 2 different product lines in branding terms, because I don’t approach them that way, and I don’t keep those sorts of rigid walls in my head about my work (nor could I if I tried) that my poster work seems to feed my art prints and vice versa. Art prints get attention to my posters, and my posters bring a set of people into my art prints. This is especially true with the alphabet prints in a funny way. I’ve found that the sorts of people who like screenprinted posters are also people who appreciate hand printed and handmade work. Moreover, a lot of them know people who are having kids or are having children of their own, so in a way, the alphabet print series is a more kid-friendly extension of that aesthetic. Even though, a lot of grown-ups buy the alphabet prints for themselves or for their significant other. And, even the alphabet prints have a lot in common with a rock poster in terms of function and constraints, since both have a problem to solve and involve adding text to complete the design. It’s funny though, I started out with screenprinting by doing purely art prints, and yet I find them to be the most daunting to work on, since there are no constraints for function for them other than to look good (hopefully) and be expressive of something that I was interested in at a certain moment in time. So, while art prints got me noticed and therefore into doing posters, I find them to be the hardest to work on still.
You do all your own printing. What is your printing space like and how did you learn to screen print properly? I’m currently working out of the same studio space where I learned to screenprint, AIR (Artists’ Image Resource), a community print studio in Pittsburgh. It’s a big, rambling shared space studio where every day is Anything Can Happen Day in terms of what’s going on, who is working, and where the heck is the emulsion?! It has it’s ups and downs, like any workspace, but one of the big upsides has been almost always having other experienced printmakers around to help troubleshoot issues that invariably come up when screenprinting by hand. I was originally taught the basics of the process by Mike Budai, an amazing printmaker and poster artist, with further insanely helpful advice and smart tips from he and artist Heather White while working at a weekly open studio night where mistakes were natural, but also a necessary part of the learning process. Screenprinting is absolutely one of those processes where, as frustrating as this may be, making mistakes is a HUGE part of learning what works and why. I can’t even imagine having tried to learn this form of printmaking on my own in an information vacuum. All of that said, I just started renting a very small studio space and am working on outfitting that for printing too, just to have a place to keep all of my screens, paper, inks, and gear that is not my living room, dining room and spare bedroom. My husband is stoked. We haven’t seen the surface of the dining room table for well over a year.
Do you enjoy printing or designing/illustrating more? I love them both! Really, my printmaking life is made up of 2 equal, heavy-duty parts. I work hard on a design, and then I get to work all over again on the printmaking part. Printing at this point is so second nature and I tend to find it to me almost Zen-like, where my body is working while my mind is skipping along elsewhere. I’ve been watching a lot of movies and old television series while printing this year, which has been really fun. I still, and imagine that I always will, find the design and illustration portion of my work still really challenging and exciting. I won’t say it’s always fun, because it can be frustrating, but I think that lately, this is where I am enjoying myself slightly more. But, ask me again in 6 months and I’ll bet that I’ll have changed my mind again.
How long does it take for you to get ready for a show like The Crafty Bastards Fair? Technically ready for the actual show day itself, probably about 3-4 days of all day packing and organizing my stock and all of the items required to set up a tent and make it into a pretty and working show booth. In terms of the things that I sell though, I start ramping up my output anywhere from 1-2 months before a show just to make sure that I have lots of fresh new work. Crafty Bastards actually comes at the end of what I call “carny season”, since I’ve been doing shows almost non-stop since March, which makes me feel like a traveling carnival barker. This is a good thing! So, one could say that I’ve been making work all year to get ready for something like Crafty Bastards as I definitely schedule my output all year long to make sure that I always have enough stock for shows.
This is your first Crafty Bastard Fair in Washington, DC. Is there thing or anyone you are excited to see? Since this is my first Crafty Bastards show I’m really looking forward to seeing how the Fair looks, for one. I’ve heard such great things about the whole day from lots of crafters that I know who’ve done it in the past. And, this year I’m lucky enough to be included in the event with a good number of my crafty-world friends, all of whom I’m really excited to see again! We love DC and I spent a summer there when I was in high school, so it always feels like a second home city to me.
Upcoming work: I’ve spent most of the summer and early fall working on a book cover project for a new Young Adult title called Sisters Red, written by Jackson Pearce and published by Little, Brown & Co. I have a bunch of art prints that I’m dying to get cracking on, and I am going to be working on the cover art for a major band’s newest record, but that one is still under wraps. It’s going to be a busy fall!
Parting advice: Always trust your instincts. Always. After that, if you want to try something, do it. Why not? Keep an open door policy in your mind every day and when even the smallest opportunity presents itself, try to take full advantage of it. You really never know where something seemingly small can lead. I feel like every bit of “luck” that I’ve had stemmed from a magical combination of hard work, risk taking, and saying yes whenever things feel right.
Autumn’s arrived and very soon the evening chill will seep through the window panes and you’ll hanker for someone to cuddle up with and get warm. Might we suggest the one and only Smokey Robinson?
Celebrating 50 years in the music industry, Smokey kicks off our random Fall Vinyl Giveaways with his new release ‘Time Flies When You’re Having Fun’ featuring appearances by Joss Stone, Carlos Santana, and India.Arie.
For this first Fall giveaway we’ve got TWO copies of ‘Time Flies...’ for two lucky winners. Smokey’s in top form on this new one, having recorded live in the studio with his stellar backing band which adds an element of warmth and immediacy to all the tracks on this set.
From a design standpoint, the LP sleeve itself is a knockout too. Shepard Fairy’s Studio One (the folks behind the iconic Obama ‘Hope’ image) have outdone themselves for Mr. Robinson. The 11 tracks span two 180-gram vinyl LPs which are housed in a gorgeous gatefold sleeve—and Smokey’s personally signed the cover of both LPs for TVD.
So, sing us a love song to the Motown legend in the comments (with contact info – important!) and he or she in the 50 States who croons the sweetest will win the LPs. We’ll choose two winners next Monday (9/28) so get to penning those notes!
On Fridays a while back, we’d do a post called ‘Fridays @ Random’ which was largely housekeeping info for the readers of the blog. And...I dunno. For some reason that stopped, but I’ve got some items of that variety that I thought I’d mention today.
Firstly, if you visit us just once a day (and what’s up with that?) you’ll sometimes see the same post at the top of the blog which may have you thinking that there were no new posts that day. Perish the thought. These are normally contests we’re running that we’d like to keep under your nose for a bit, so remember to scroll down beneath those giveaways for the undoubtedly brilliant content (...er) that we foist upon you daily.
Didja know that our daily 5 Mp3s and the Friday 10 are sequenced for your listening pleasure? Download ‘em all, kick back, and let us take you away. Like a Calgon bath.
So, we spent the entire week talking about ghosts which, we know, is well in advance of Halloween. See, we’re making sure YOUR playlists are timely when the holiday arrives. Thank us with candy.
...and we've got an exclusive preview before the book hits the shelves in early October:
“Even in the bacchanal of 1970s Los Angeles, the drug and promotional excesses of Casablanca Records stood out. In a period when cocaine use was probably at its peak in the music business, Casablanca set the pace...” —ENCYCLOPEDIA BRITANNICA
“You stupid fucking idiot!”
I was pissed. I was so pissed I was shaking. I was on the phone with Bill Wardlow, the head of Billboard magazine’s chart department, holder of one of the most powerful positions in the music business. I had just called him a stupid fucking idiot. And I wasn’t even close to being done.
“You can’t do that! We had an agreement! I don’t care if their record is selling better than ours—that has nothing to do with it! Give them No. 1 next week. We discussed this yesterday, and you told me we would have No. 1! You have to change it back. I already told Neil that we would be No. 1.”
I wasn’t just pissed, I was scared. I had promised to deliver Billboard’s No. 1 album in the country to Casablanca, and now a done deal had been yanked from me—from us—at the eleventh hour.
I was intimately familiar with all the steps that had to be taken to get the top album in the country, and screaming at the head of Billboard’s chart department was way, way down the list. Yet it was a step I was taking. I knew that they weren’t going to let out the chart information for another two hours. They could still change it. I wasn’t going to stop screaming until they went to press.
“I couldn’t care less if Al Coury already knows about the numbers! Did he pay you off in cash? I helped you out where no one else could, and this is how you pay me back? You are a complete asshole to put me in this position!”
People were beginning to congregate outside my office to watch the meltdown. Neil Bogart walked in through our adjoining office door, clearly surprised at my outburst, and attempted to talk me off the ledge. No one had ever heard me yell with such venom and hatred. And they certainly had never heard me yell at Bill Wardlow.
Bill had promised me that our three-disc soundtrack LP for Thank God It’s Friday would be No. 1. Now he was reneging and giving the top slot to Saturday Night Fever. In truth, Saturday Night Fever deserved it. It was outselling us ten to one—easily—and I knew it. RSO, the label that had released Saturday Night Fever, shared a distributor with Casablanca, and I had access to their sales figures. The movie was doing much bigger box office than ours, too, but I didn’t care. Not only did I want to end Saturday Night’s impressive twenty-plus-week run at No. 1, but I also wanted the image enhancement that went along with being No. 1 and the increased sales for our picture and album.
For the past two years, I had had control over the Billboard charts and was able to significantly affect the positions of our records to help establish a perception that our company, Casablanca Records, and our artists—among them, KISS, Donna Summer, the Village People, and Parliament—were the hottest in the music industry. I was not going to accept a broken promise. This guy had screwed with the charts for years and years, and now he was screwing with me.
Casablanca was our child. We gave birth to it, we nurtured it, we fought many battles to keep it alive, and to have someone not give it the respect I felt it deserved was unacceptable. But this story begins long before I even knew who Bill Wardlow was, when Neil Bogart was not king of the hottest label in the record biz but just Neil Bogart, my second cousin from Brooklyn.
For additional information and to preorder your copy, visit the official site.
"FRANKIE GOES TO HOLLYWOOD will release a new compilation 'Frankie Say Greatest' on November 2nd to mark the 25th anniversary of the original release of their classic album 'Welcome To The Pleasuredome'. The CD/DVD release will feature all the band's hits plus new remixes of 'Relax','Two Tribes' and 'Power of Love' and original remixes."
(Man, I've waited a long time to type that headline.)
Our friend Paul Michel is shooting a video this coming Saturday (9/26) at Saki in Adams Morgan for the track 'Surround Me' and he needs some happy brunch-goers to act as background extras.
"We need warm bodies dressed to the nines (suits for gents, dresses for girls) to show up at Saki in Adams Morgan at 10am," Paul told us earlier in the week. "We're gonna have some champagne and Jameson's to start the Saturday brunching off right."
Not bad, huh? Here's the link to the Facebook invite where you can RSVP.
Jupiter One pay a visit to Washington, DC next Wednesday (9/30) in support of their new release ‘Sunshower’ as openers for the wonderful Regina Spektor at Constitution Hall.
After speaking to Jupiter One’s Zac Colwell this week, I wouldn’t be surprised to see the band flipping through the bins of vinyl at any one of the shops advertised over there to the left while they're here...
"When I was growing up in South Austin, past the suburbs and before the pastures, my whole world was my parents' record collection. As soon as I could operate the turntable I was choosing my favorites: Fleetwood Mac "Heroes Are Hard to Find", Hugh Masakela "Is Alive And Well at the Whiskey", Cannonball Adderley "74 Miles Away", Stevie Wonder "Talking Book", The Uranium Savages, Ravel's "Daphnis et Chloe", etc. and on and on and on.
There were no categories or "genres", just "with words" or "without words". Many of these records have not been reissued on CD yet and so the only way I can hear this music that shaped my tastes is to visit home. When I see the covers, I remember the reverence I felt for these artifacts. They were important. Someone made these covers to look at, and so I stared at them for the length of the record. Every time.
As I got older I managed to get the record player to live in my room. I would fall asleep every night with the arm back so one side would repeat over and over and fill my dreams. I was tired in high school. A trip to the record store with friends was a ritual and we were sooooo cool for being into it.
Just now I played another Fleetwood Mac record and Grady Tate's "Windmills of My Mind" on the record player in the house. I loved that these thoughts were interrupted when I had to get up to flip the record. It demands the listener's attention. And never gives one more that can be digested."
The evening concludes at 9pm at the Velvet Lounge (915 U Street NW) with a program that ranges from insane noise to precision electronics and elegant compositions. $10 gets you in. Details:
Fern Knight is a quartet based in Philadelphia and DC led by cellist Margaret Ayre, and delivers a heady blend of progressive rock, pagan folk, 60's psych improv, and the new wave of British heavy metal. Imagine Pentangle with a flying V...
Swiss audio magician Luigi Archetti might be known to some as the guitarist behind latter-day krautrock pioneers Guru Guru. He's also done fantastic work as a sound installation designer and solo experimental musician. His recent release Transient Places is a wonderland of drones, textures, and deeply heavy minimalism.
Netherlands-based madman Odal cannot be described, it must be experienced. Peter Zincken's Odal project is a full-on assault of old-school noise with a physical presence that is uniquely.....Odal.
DC native Chester Hawkins (known to some blog readers as Intangible Arts) has been performing as Blue Sausage Infant since 1986. The sound of BSI can range from brutal noise to deep drones, heavy rhythms, and psychedelic walls of sound. The goal is to induce epic trance states and a vaguely paranoid kind of euphoria...
Twilight Memories of the Three Suns is a DC-based experimental collective that explores unique methods of sound creation, from amplified objects (bug zappers, building materials, heartbeats) to abused or altered instruments. Watching Twilight Memories in the act is as enlightening as hearing the resulting sounds.
The Sonic Circuits festival celebrates unexpected music in all its forms, and offers a unique chance to see some world-class examples here in DC. Check dc-soniccircuits.org for further details.
Most likely in a testament to some personal fortitude, I often find that I can look back on horrible experiences or times of duress...with some fondness.
I mean, it doesn’t happen right away, but the gamut of experience infuses me with an appreciation for a time of crisis, most often after some reasonable time has expired.
I can’t say why this is and I’m largely thinking (er, typing) out loud, but there you have it.
“A grace note is a kind of music notation used to denote several kinds of musical ornaments. When occurring by itself, a single grace note normally indicates the intention of either an appoggiatura or an acciaccatura. When they occur in groups, grace notes can be interpreted to indicate any of several different classes of ornamentation, depending on interpretation...
...The term grace note is sometimes colloquially used in a metaphorical sense to indicate concerns which are of secondary importance to that which is of primary concern. For example, in planning a banquet, one might consider the decision of the color of napkins to be used to be a 'grace note' in relation to deciding the courses that would be offered on the menu.”
I’m having conversations with my Dad lately despite the fact that he passed away three years ago last week. I imagine catching up and filling him in on world events and the like. On my mom and her health and the dog he adored that now lives with me.
It’s cruelly ironic that when he was actually around, sometimes weeks would go by before I’d pick up the phone for a hello. He’d say, ‘Where have you BEEN—I was worried!” And I’d say, “Oh, I’m FINE...why would you WORRY?!”
“When you’re a parent,” he’d say often, “you’ll understand.”
“Ghost notes are musical notes occurring in a rhythmic figure which are purposely deemphasized, often nearly to the point of silence.”
The musical equivalent of a lost tooth for example, your tongue repeatedly flicking at its absence.
I’ve long been aware that absences have shapes—the loss or the distance becoming a companion. That absence is SOMEthing. A tangible intangible, maybe.
If you’re fortunate to live a long life, one of connections and entanglements, real or perceived—their departures announce themselves with tiresome frequency. Yet, SOMEthing remains. And we replay it over and over.
“Ghost notes, however, are not simply the unaccented notes in a pattern. The unaccented notes in such a pattern as a clave are considered to represent the mean level of emphasis--they are neither absolutely emphasized nor unemphasized. If one further deemphasizes one of these unaccented notes to the same or a similar extent to which the accented notes in the pattern are emphasized, then one has 'ghosted' that note.
In a case in which a ghost note is deemphasized to the point of silence, that note then represents a rhythmic placeholder in much the same way as does a rest. This can be a very fine distinction, and the ability of an instrumentalist to differentiate between what is a ghost note and what is a rest is governed largely by the acoustic nature of the instrument.”
...our Crosley Turntable Giveaway has ended. Thanks to all who entered!
What would our 33-1/3 Days of Vinyl Giveaways be without something to play those new records on? Well, happily we don’t need to ponder that dire scenario because our friends at Crosley Radio have offered TVD the brand new CR6007A Tech Turntable to give away as part of our 33-1/3 series of LP Giveaways!
The official info: Blast into the vinyl preservation revolution with the CR6007A Tech Turntable. Simply plug in a USB or SD card to transfer music from your records, giving you the flexibility to put the digital tunes on CDs or your MP3 player. The tech turntable’s playback feature can also be used to listen to prerecorded MP3 files. This Crosley turntable even features a PAR (portable audio ready) hookup for MP3 players, and an analog AM/FM radio for more listening enjoyment.
The CR6007A Tech features: USB/SD Encoding • USB/SD Card Reader • Belt Driven Turntable Mechanism • Plays 3 Speeds - 33 1/3, 45 & 78 RPM Records • Plays 7", 10" and 12" Records • Portable Audio Ready – Simply Plug in Your Portable Audio Device or MP3 Player • LCD Display • AM/FM Radio • Analog Tuner • External FM Antenna • Dynamic Full Range Stereo Speakers • Auxiliary Input • Auxiliary Output • Headphone Jack • Wood Style Cabinet • Remote Control
We’ll be sponsoring the contest to win the Crosley CR6007A Tech Turntable throughout the final 33-1/3 days of Summer 2009. To win, all you need to do is capture our attention in the comments to this post, and on 9/21 we’ll choose one lucky winner from the many witty and intellectual comments we’re certain to receive. (We’re optimists.)
So, make ‘em good. We’ll see ya back here on 9/21 when we choose our winner!
(...and many thanks to Crosley for their generous support!)
Oh sure, perhaps it's a return to summer with this morning's weather but don't be fooled - Fall looms and arrives this time next week. But we're going out on a high with our very LAST Vinyl Giveaway for the Last 33-1/3 Days of Summer!
ONE winner will receive:
...how's that for a finale?
Do whatcha' gotta do in the comments to this post (with contact info, please!) and we'll award one winner all three LP's to close out our series of contests. We're shutting the doors on summer and these giveaways next Monday (9/21) so get crackin'. Like Fall is.
As we mentioned last week in our First Date feature with Jupiter One, they're here this Wednesday as openers for Regina Spektor at Constitution Hall—and we just got our hands on a pair of tickets for one lucky concertgoer! 
