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Alex Chilton became a public figure at the age of 16 when, not long after he’d first seen the inside of a recording studio, a song from that session became a #1 worldwide hit, “The Letter” by the Box Tops. At that impressionable age he became a product packaged and sold, considerable talent yielding considerable profits—for the manager and not the artist. Soon, the monkey walked away from the organ grinder to do his own thing.
His thing: He channeled the future by capturing the underground zeitgeist, three times in the 1970s alone—an audience for the clean pop of the first two Big Star Records caught up to the music a decade after it was made; the third Big Star album was nihilistic and beautiful (hello Elliot Smith and the ‘90s); the shambolic 'Like Flies on Sherbert' deemed hip the wealth and diversity of Americana roots while becoming a punk rock classic. The art of these efforts has become canonized, but the financial return was—again—basically nil. Big pop hit or great art, same result: no money.
Instead of profit, his fans assigned him prophecy. But the Replacements only got it half right in their tribute song. Children by the million might have screamed for Alex Chilton, but he’d never have come running. Waves of admiration and love were an assault, and he was scornful of those who needed to make more of his songs than he did. His lifelong interest in astrology makes sense: What is colder, more beautiful, more distant than the stars? Astrology is the province of the seeker, not the sought.
Alex Chilton’s career in song is a testament to his seeking, to his eye for precise detail, his adventuresome ear, his empathetic heart. In a few lines he could chillingly evoke the angst and maelstrom of young adulthood, touching strangers in a personal way (their responses leading to his notorious friction with some fans). His mind remained curious all his life, exploring politics, the humanities, and sciences with the same avidity he mined R&B, country, classical music and everything in between. He refused to be predictable, and preferred his audience be kept on its guard. In the same late-night radio appearance when he sang Dolly Parton’s “I Will Always Love You”—years, of course, before Whitney Houston made a career out of it, he also broke into a filthy racist ballad. His songs were not unlike William Eggleston’s photographs—crisp, saturated, and composed, with an underlying menace, with a throat-aching wistfulness.
Alex was as complicated as Memphis itself. XL Chitterlings, my favorite of his stage names, stole Wilhelm Reich books from the Memphis Public Library because he said no one checked them out, and he gave them to people whom he thought would appreciate them. When a friend heard him explain his world view, he chided him, “You're right Alex, the world is wrong.” Telling me about this later, Alex added “And, hell. I believe that. The world is wrong, I am right.”
To the end, he did it his way. Apparently he’d been feeling bad for several days, but not so bad he couldn’t refuse advice to visit the doctor. Dead at 59, the loss magnified by its abruptness, the musician is stilled but his great recordings live on. The eulogies will too, much to his likely irritation.
Robert Gordon is the author of the quintessential book on Memphis music history - 'It Came from Memphis.'
One day in 1968, I walked into my office to find a young man still in his teens, seated in my chair, with his boots propped up on my desktop, smoking a cigarette. Once I relocated him, I learned that he was Chris Bell. I would soon meet Andy Hummel, as the two, along with Steve Rhea, were starting to join the after-hours recording crew at Ardent. I already knew Alex Chilton from his visits to Ardent for Box Tops overdub and mixing sessions. A bit later I would meet Jody Stephens as he joined Chris and Andy on drums when Steve left for college.
Of course, there would be no Big Star band until a few years later, but this day is as good as any to mark the start of a journey that Alex, Andy, Chris, Jody, and I would wind up taking together. That journey has been well described in several different formats. The life stories of the individuals involved would progress in ways that none of us could have envisioned.
For me, the experiences included getting to participate in the recording and release of music I loved then and still love now, the bitter feeling of total commercial failure in the Memphis ashes of 1975, an early morning phone call in 1978 with bad news, and the ultimate acceptance of the music by generations of fans and musicians, many unborn at the time it was recorded.
Recounting some recent events may express my feelings better than talking about the distant past. Fast forward to 2008. Jody Stephens shouts from his office across the hall from mine “Hey, we’ve got a show in London on August 28”. My response is, “I’m going.”
It’s three hours until show time, and I am having dinner with friends in an Indian restaurant around the corner from The Shepherds Bush Empire. Seated at the next table are what turn out to be a dad, mom, and teenage daughter. After a while dad leans over and says “Excuse me, I couldn’t help overhearing, and it sounded like you were talking about Big Star, We’ve driven down here from North Yorkshire to see this show. We’re all huge Big Star fans. Do you know anything about that?”
I responded, “Yes, a little” and enjoyed making some new friends.
The show is now in progress, and I’m studying the audience. Their ages range from older than my own to teenagers who are obviously in a band (note playing of imaginary instruments). They know the songs and the lyrics. “Cosmos” kicks off, and the room becomes very quiet; the crowd knows about that too. I walked back to my hotel, feeling a sense of closure about a number of things which had eluded me for decades.
I am grateful to Cheryl and Andrew at Rhino, and to Alec Palao for the vision and persistence that made the Big Star box set 'Keep An Eye On The Sky' and the'I am the Cosmos'2 CD Deluxe Editionpossible (The new Cosmos Handmade edition presently is available only from Rhino.com and their affiliated international sites). I can’t say enough about the hard work by Adam Hill at Ardent in finding and gathering materials. Thanks to Ken and John for ably filling their roles since 1993. Finally, thanks to Alex, Andy, Chris, and Jody. Mostly you made me smile, sometimes you made me cry, but this journey has been the best thing about my 44 years of doing this job. I love you all and always will.
—John Fry
Addendum | Since writing this, an unexpected and unwanted event occurred on March 17, 2010. At about 7 pm, I received a call from Jody Stephens, who had gone to Austin that day to participate in SXSW. He quickly said that he had received a call from Laura, Alex Chilton’s wife. Alex had suffered symptoms of heart failure at home and had been taken to a hospital where he died in the emergency room. There initially was nothing more to say beyond “What, say that again, are you sure?”
Then we said to one another, I guess we better cancel everything. I was about to hang up when it occurred to me to say “It’s your decision, but you guys should talk about it among yourselves. Maybe you want to go ahead with everything as a tribute to Alex.”
They called back in a couple of hours and said they were going to perform with guest artists. I think it was the right decision.
There was a tremendous outpouring of love and support from the artist community at SXSW. The media were courteous and respectful in as far as I have seen. We all are grateful.
There was a previously booked Big Star show at the Levitt Shell in Memphis on May 15. The remaining band mates and family are in agreement that this will also go on as a hometown tribute to Alex.
A memorial for Alex will be held at Minglewood Hall on March 30th from 5-8PM. It is open to the public.
One week ago, I picked up the Big Star boxed set, looked at the cover photo with their smiling faces, and reflected on the fact that there are now two of these four people about whom I have received shocking sudden death phone calls, one in 1978 and another in 2010.
Alex and Chris are sorely missed, much loved, and deeply respected.
—John Fry, Ardent Studios, Memphis, TN, March 24, 2010
Enter to win Big Star's '#1 Record' on vinyl by telling us your Big Star or Alex Chilton story in the comments to this post. Please remember to leave a contact email address. The winner will be notified next Monday, 4/5/2010.
The Vinyl District's Ardent Records, Ardent Music, and Ardent Studios Week has been in the planning stages since last January, and in fact was the project that ignited the idea of a month of label spotlights as we count down to Record Store Day 2010.
We've been plotting and mapping out this week that would highlight not just the studio's storied history, but the history of the people and records that Ardent has fostered.
What we certainly didn't foresee was that the history we were chronicling would be irrevocably altered with the passing of Alex Chilton—and it was during one of those planning back and forth email volleys less than two weeks ago that we were informed of his passing soon after it occurred.
So, we've scrambled a bit and reconfigured that map of the week to allow for not just an Ardent spotlight but a series of reflections on Alex Chilton, the man and the musician and the deep well of affection that he leaves behind—which will run in tandem with what we had set out to do initially.
And there will be a lot to read and take in. If you ever thought TVD might be a little light in the content arena (as I might have in the past) this week will undo that notion. We'll have a few surprises along the way, and of course, we'll be giving away some vinyl - not one big contest per weeks past - we're piggybacking the giveaways with pertinent posts.
And the most pertinent now as we kick things off with Ardent Week is a brief historical overview:
Something Good Happens Here by Robert Gordon
“I had an interest both in music and in electronics,” says John Fry, founder of all things Ardent – studios, labels, video production, and various other ventures over the years. “We started getting our hands on the equipment, then asking, ‘What can we do with this?’ Well, we can record music. ‘What are we going to do with the music?’ Well, we could try to sell it.”
These are simple beginnings for a passion that has lasted forty years, has become an industry-leading enterprise, and has produced some of the best music in modern history. And even as Ardent has grown and changed, the founding characteristic has remained true. “Back then, our studios were unusual around this part of the country,” Fry continues, “because we had a higher technical standard than was common, allowing for a controlled recording situation.” Ardent’s high technical standards, well-maintained equipment, and an appreciation for both the vintage and the cutting edge have always been its essential elements.
John began tinkering with electronics in the late 1950s, his particular interest being radio. “As kids, we couldn’t get a radio station, so we started recording, which was the next best thing.” The afore-mentioned “we” refers to John Fry’s first two partners: John King and Fred Smith. King stayed in the music and radio business, publishing a radio magazine, working in promotion for Ardent Records in the 1970s and more recently, programming internet radio; Smith went away to college and turned his passion for aviation into a fly-by-night operation named Federal Express. In 1958, they were just sophomores in high school stumbling into a hired studio with a band they’d found. “This studio we rented was a thing from the era of live radio broadcasting,” Fry recalls. “All technology was pretty primitive then, but this place had things like Presto disc recording lathes that even then were approaching obsolescence.”
For every action, there is an equal and opposite reaction. That first studio experience was exactly what John Fry did not want, and he set about building his own studio in a converted garage off his parents’ house in what had been his grandmother’s sewing room. “I’d pore over the catalogs and brands and all that. We built a lot of our equipment, and what we didn’t build we inter-connected. Things just didn’t exist in an off-the-shelf form. Until well into the 1960s you put the thing together and made it yourself.”
The desire for a label had spawned the studio. The first incarnation of Ardent Records released four singles. Notoriety came with singles by local favorites, especially the Shades. (Collectors take note: Ardent 101 is by The Ole Miss Downbeats; “The Hucklebuck” b/w “Slewfoot.”)
Then John Fry spent some time in the radio business. “A little bit after I graduated high school in 1962, a friend got a grant to build a radio station in Pine Bluff, Arkansas. We thought, ‘Well it’s not exactly a major market but this guy’ll let us mess with it some.’”
A couple years later, in 1964, recording artist James Luther Dickinson talked Fry into reviving the label. Dickinson had production ideas and Fry’s ears were open; their working relationship continues today. Terry Manning played organ in Lawson and Four More, the revived Ardent label’s first release. By 1966, when Fry’s family was moving, the studio was also ready for a new location, and Ardent had its official opening on National Street, where it stayed for five years.
“Our facility coincided with the rapid upswing of the technology,” Fry reflects. “If you had four-track equipment, you had as many tracks as anybody and more than most. Between 1966 and about 1970, we went from four to sixteen tracks and to much larger consoles; outboard equipment began to appear, and so did Dolby noise reduction. The equipment required a fair amount of alignment and attention in order to work right. We were good at that. Ardent wound up mixing a lot of stuff that other people would record because we could apply some technological efforts that seemed to enhance it. Also, our console was the same make as Stax’s, so anyone from there could feel at home with what we had. We stayed busy.”
Clients came from far and near. Led Zeppelin, Leon Russell, and James Taylor sought out the place, and Ardent became a second home for Stax artists, including Isaac Hayes, Sam and Dave, the Staple Singers, Don Nix, the Bar-Kays and Booker T. and the MGs. The Stax relationship blossomed, and in the early 1970s, Ardent Records became a Stax distributed label. Unfortunately, Stax got caught up in its CBS Records quagmire, and some of Ardent’s greatest albums, including Big Star’s '#1 Record' and 'Radio City,' did not reach a wide audience until years later.
Big Star ultimately seeped into pop culture, their reissued albums influencing generations of talent. A range of artists cite those Ardent albums as formative inspirations, including R.E.M., The Bangles, Primal Scream, Matthew Sweet, The Posies, Elliot Smith, Sister Hazel, Ryan Adams, Golden Smog and Wilco. A treatment of Big Star’s “In The Street” by Cheap Trick became the theme song for Fox-TV’s long running 'That 70s Show.'
In November of 1971, while in the midst of recording the first Big Star album, Ardent moved to its current home on Madison Avenue. The new facility was outfitted with two studios, adding a third in 1980. Its reputation growing, Ardent Studios continued to attract national recording acts. And they came: ZZ Top, Freddie King, John Prine, Cheap Trick, Joe Cocker. The 1980s kicked off with Ardent alumnus Alex Chilton bringing in the Cramps, thereby introducing the studio to a new generation. And they came: Green On Red, the Replacements, R.E.M., the Georgia Satellites, the Gin Blossoms, the Tragically Hip, the Afghan Whigs.
In the mid-1980s, Ardent began to develop a relationship with the burgeoning Contemporary Christian Music market. DeGarmo and Key became Ardent regulars, recording 'Heat It Up', 'To Extremes', and many others. Ardent Records launched a Christian rock label in 1995; so far it has released 36 albums and garnered 7 Grammy nominations from an artist roster including Big Tent Revival, Skillet, Smalltown Poets, Jonah33, Todd Agnew and developing artists Joy Whitlock and NonFiction.
Blues artists have always come through Memphis, and in the late 1980s, Austin’s Fabulous Thunderbirds began recording at Ardent. After their guitarist Jimmie Vaughan brought his brother, Stevie Ray, there for 'Family Style', Jimmie returned to complete Stevie Ray’s posthumous release 'The Sky Is Crying'. Ardent then became a mecca for modern blues artists. And they came: Robert Cray, Luther Allison, Jeff Healy, Albert Collins, Bernard Allison, B. B. King.
When Nashville wouldn’t let Steve Earle get the sound he wanted, he hit the hillbilly highway and showed up at Ardent. Word spread that there was a place down the road where the sounds were professional and the possibilities were great. And they came: Travis Tritt, Tanya Tucker, Little Texas, Mark Chesnutt.
As the post-punk world settled down and major labels became comfortable with alternative rock, Ardent Productions served as liaison between Memphis talent and the corporations. Under the direction of Big Star drummer (and Ardent Studios manager) Jody Stephens, Ardent Productions developed several artists in the 1980s and 1990s, landing deals at Geffen for John Kilzer, A&M for Tora Tora, and Elektra for The Eric Gales Band. In the 1990s wave of indie rock, Ardent Records got into the game with Neighborhood Texture Jam, Spot, Jolene, and the return of Big Star front man Alex Chilton.
Since its earliest days, Ardent has fostered producers. Jim Dickinson, Terry Manning, Jim Gaines, Joe Hardy, John Hampton, Paul Ebersold, Jeff Powell, Skidd Mills, Jason Latshaw, Matt Martone, and Pete Matthews are among the many producers who have had long relationships with Ardent. In a business known for big egos, flaring tempers, and hardened grudges, these enduring associations speak volumes about the Ardent environment.
Times have changed, but Ardent has remained true to its character, embracing the technological advents, collecting world-class vintage gear, and offering hospitality that is among the South’s finest. As Memphis’ connection to Hollywood grows stronger, the filmmakers behind 'Hustle and Flow', 'Black Snake Moan' and '40 Shades of Blue' have turned to Ardent for recording their soundtracks. Hip hop artists and twenty-first century stars continue to walk through the doors: Three 6 Mafia, Juvenile, Al Kapone, Cat Power, the North Mississippi Allstars, Three Doors Down, the White Stripes, Bob Dylan, John Hiatt, the Raconteurs, and a reunited Big Star. Ardent’s passion for the music has translated into more than 70 gold and platinum albums and singles. You can walk the halls and feel that same passion.
“Anybody that’s traveled knows there is an emotional influence that you experience from being in different places,” says John Fry. “Your moods are affected by your surroundings. I think there is something that operates in Memphis, and at Ardent—I can’t explain what it is or how it operates on an analytical basis, but having been an observer for forty years, I know there’s something that animates all this activity that causes it to go on here and not other places. You come record here, something good happens to you!”
Robert Gordon is the author of the quintessential book on Memphis music history - 'It Came from Memphis'
The legendary Big Star was to be celebrated at SXSW this year. A panel was planned on the band and its influence, as well as a closing set at Antone's on Saturday. So it was a mighty big blow felt by everyone attending when news started circulating Wednesday of Alex Chilton's death. What was to be a performance by Big Star became a tribute to Chilton, with various singers slated to "borrow" Chilton's mic.
I've got photos forthcoming of it all, but it was widely agreed upon by those who attended that Sondre Lerche's performance of "The Ballad of El Goodo" was definitely one of the evening's highlights. Lerche's serene and moving voice was the right fit and brought the song, and everyone listening, to a whole new level.
The video below is of Big Star/Poisies guitarist Jon Auer rehearsing beforehand...
and of the performance at the tribute. I really wish you all could have been there, video doesn't come close to capturing the beauty of Lerche's sound. It was truly something special.
"Circles" | This year’s SXSW conference in Austin was an amazing convergence of all things “music.” Being a long time SXSW attendee and music bizz “insider,” I knew to expect thick, drunken crowds and lots of “walk-about.” More than anything else I saw tons of great friends. I think all of “us” spent all week walking in circles.
I arrived back into the arms of Laurel Canyon drained. I know I had seen some great music but I was humming not a note. What comes to mind was an expression Don, the lead guitar player from my old band use to use…
“Blown out by rock”!
Upon putting together this week’s mix, I had not a clue what I wanted to hear. I was moody. By chance I stumbled on the Soul Coughing album El Oso. “Circles” seemed like a fitting muse and I started playing off a theme of being drained & lost.
I had just gotten the new Pavement greatest hits album and had read the lengthy press bio on what an important band they had become. It reminded me of moving to LA, after spending the late 80’s in east village NYC. I had been friends with Mark Ibold and was excited to see the band’s 1st LA show.
Funny, back then I often felt a bit lost as a New Yorker in LA. There has never been a time since then that I stopped listening to the songs of Steven Malkmus. It will be surely cool to have Pavement back for one more summer “babe!”
This week in the “mix” a dose of new bands, Portugal The Man is sounding pretty cool. Lo-fi teenagers from Chicago, The Smith Westerns have a buzz coming of out Austin. So does LA’s Fool Gold, don’t sleep on band leader, Luketop’s solo album “Friends.” His song “Lord, Save Me From This Valley” is at the top of the set. Sultry Jonneine Zapata sums it up with the question, “What are we gonna do?”
Indeed, it’s been a hallmark of our Record Store Day 2010 Label Spotlights that each label puts together a grab bag o’ swag, and our friends at Daptone Records are no exception.
Here’s what we got for ya:
...the brand new Sharon Jones & the Dap-kings LP, "I Learned The Hard Way"...
...the above, large 22" x 28" poster on a thicker (12pt paper stock) featuring a collage of DaptoneLP's and 45's.
...two super-sweet DJ turntable slip mats...
...and a collection of five Daptone 7"'s:
3 Titans "College" b/w "The Life of a Scholar" Sharon Jones & the Dap-Kings "Ain't No Chimneys in the Projects" (X-mas 45) Menahan Street Band "The Wolf" b/w "Bushwick Lullaby" Darrell Banks "I Don't Know What To Do" b/w "My Love is Reserved" Naomi Shelton & the Gospel Queens "Wind Your Clock"
That's right—Daptone loves ya' back.
By now you know the drill, in the comments to this post let us know why you deserve to win this killer Daptone Prize Package—with a contact email address!—and the one person that hits our collective sweet spots will be awarded all of the above. You have until Wednesday, March 31 to suitably impress us.
We await your love letters.
...And we thank Daptone Records for hanging out with TVD all this week with a special shout out to The Honeydripper...
French Letter's music is the result of long periods of random experimentation and the use of loop pedals for composition and performance - especially in "Chester", which begins in a loop-filled swell of instrumentation.
Behind everything is an appreciation for oddities in music, whether in little nods to math-rock but set in a pop context, or unusual covers. But the core group of French Letter, the bass, drums, and guitar, have been playing together for five years, through four band-iterations, and have found a certain understanding on understanding.
In college, they bonded over Pavement and Andrew Bird and being transplanted New Jerseyans, hence two songs on the EP named after small towns in northern New Jersey. And it has taken time - starting with six people, slimming down to three, expanding to four, to get to where they are.
And where they are? Openers for Sweet Tea Pumpkin Pie and Olivia Mancini this Saturday night (3/27) at Comet Ping Pong. We'll see you there, right?
It's the last day of our Daptone RecordsRecord Store Day 2010 Label Showcase and we're going straight to the top. Gabriel Roth, aka Bosco Mann, is Daptone's co-owner, engineer, producer, arranger as well as bass player for Sharon Jones & the Dap-Kings.
I never pass through Austin without a jaunt over to Breakaway Records. Proprietor Gabe Vaughn maintains an extraordinary depth of stock ranging from Jazz to Rock with a particularly heavy focus on Rhythm and Blues. Every time I'm there I leave with a teetering tower of sevens (sweet soul, R&B, blues, gospel...) and a mountain of choice LP's.
Notably, I picked up Little Willie John's "Talk To Me" Lp on my last visit (one of my favorite all time albums of which I had previously owned only a ratty strange pressing,) as well as Carolyn Franklin's "Chain Reaction" (an album by Aretha's sister containing the superb "You Really Didin't Mean It".) I found "Good Things" 45 by the Five Royales there, and Art Neville's "You Won't Do Right" 45 the time before.
The condition of the records tends to be strong for the most part, and most remarkable are the fair prices. Though Vaughn is an incredible DJ and prolific collector (whose enthusiasm and penchant for New Orleans R&B inspired him to name his store after an Irma Thomas song,) he somehow does not sink to the ebay-driven mentality that has lead too many record store owners to over-price every single record based on some mythical Japanese collector who once paid something ridiculous in an online auction.
Breakaway has a mellow vibe and two welcoming listening tables (with WORKING headphones!) which invite you to listen not only to the well sorted nuggets filed under "King" or "Stax", but also dig fearlessly into the undiscovered troughs of "Misc." and "New Arrivals". Next time you're in Austin, head over to Breakaway for a quality afternoon of vinyl digging. Tell 'em the other Gabe sent you.
I arrived on Tuesday, March 16th - a day early in an effort to learn my way around before the Music portion of the festival started. This seemed like a great idea in October when I booked my flight, but it turned out to be a terrible idea.
Free Margaritas + Music Badge = Disaster
Long story short, I lost my music badge the first night I was there. Note to self for next year: Do not wear your badge at any unofficial event prior to the beginning of the festival.
I lucked out the next day. First, a friend of mine hooked me up with a day pass. Second, I went by the help desk three times. The first two times I went by, there was a very bored looking girl who was keeping tally of the losers, like myself, and their emotional responses. Four had cried. I was not one of them (but I probably would have had she not told me about the tally).
The third time I went by, it was almost closing time, and there was a big, burly guy who after making fun of me and my obvious stupidity, gave me an "artist's" wristband, which is basically the same as having a badge. And he did it for free. FREE. Whew!
Anyway, I am going to give you a brief synopsis each day this week of one of the days last week. The highlights, the lowlights, the absurdity of it all.
Keep in mind, I am only 20, so I wasn't supposed to be in most of these venues anyway, so I'm not going to name them here. Also, I don't have a fake ID, I used my military ID, and most places didn't seem to notice that my birthday isn't until November. And it is because of their carelessness that I am able to bring you this report. Day 1: Wednesday, March 17 - St. Patrick's Day
I didn't leave the hotel until the afternoon as a result of the previous evening. Please forgive me.
Sets:
1. The Middle East - Brooklyn Vegan Showcase
This Australian band, is more than a band, they're a miniature orchestra. Seven people, and at least fourteen instruments. Each member maintained a certain ambiguity, no one seemed more prominent than the person behind them, everyone contributed both vocally and instrumentally.
Looking around the room, everyone seemed very focused on what was happening on stage, not just the music, but the feeling. Each person was taking part in the song being sung. This was especially apparent during "Hunger Song" early in their set - as I looked around the majority of the crowd were moving their lips. With each song a new singer sang, or would change from verse to verse.
They maintained a humility that was scarce at the festival. "Thank you all for coming to this crazy, hectic, madhouse, and thanks to our friends at Brooklyn Vegan," the tall, lanky one standing in the middle said while raising his hands as to "raise the roof." As they started the introduction to "Blood" an audience member broke the calm silence and shouted "Best song ever!" This could have been distracting, but instead an applause ripped in agreement. Despite being possibly the saddest song I heard last week, "Blood" was also perhaps the most beautiful.
2. Frightened Rabbit - Scottish Arts Council
One of the problems at SXSW is the lines. I mean, it's to be expected, but is frustrating when you dash across town to see another band. I didn't see as many bands as I could have because of this.
I stood in line for at least half an hour to get into the Frightened Rabbit show. Scott Hutchinson, the lead singer of this Scottish band, has managed to turn out hit after hit of melancholy pop anthems. They played songs from both Midnight Organ Fight and The Winter of Mixed Drinks - mostly the singles. It was a fast paced set, and the audience was alive during their latest hit "Nothing Like You," a quintessential "F**K You!" to whomever you previously loved. They closed with the bitter "Keep Yourself Warm" while leaving the stage, and trashing it, one by one until only the drummer, Grant, was left.
3. Serena-Maneesh - Brooklyn Vegan Showcase I had heard a lot about that "psychedelic rock band from Norway" and wanted to hear it myself. I am not a huge fan of "psychedelic" anything (I never claimed to be cool) and was hoping that I could be enlightened. I was wrong. While they look really cool, like, all the cool kids will be wearing glittery ponchos and mismatched headbands next year after seeing this band a la Emil Nikolaisen. Unless they decide to bleach their hair and take quaaludes, because that is exactly what the bassist looked like. They have a sound that would have worked well in the seventies, but they missed by thirty years and even now seem more glam than rock.
On my way back to my hotel I found a lost Irishman sitting on a wall. He was in a band (duh) and had been walking in the wrong direction for an hour. I walked him to my hotel's lobby where the clerk called him a cab. And off he went, and I to bed, thankful to not be inebriated.
Our Record Store Day 2010 Label Showcase—The Daptone Week—continues today with Mikey “Custodian of Soul.” Mikey's the drummer for Naomi Shelton & the Gospel Queens as well as a Daptone Soul DJ.
When I was asked to pick my two favorite record stores about 15 from the New York area came to mind. Instead of taking the easy route I decided to pick one store for the home team, and one for the away.
If you are going to buy records in New York you must take a trip out to Massapequa Park (on Long Island) and check outInfinity Records. They are always well stocked in Northern Soul, Funk, and Garage 45’s – many times one of a kind acetates will pop up. If you’re into obscure Swedish Psych Lp’s (like TAGES), well they got that too.
One time when I was playing records at a club a guy came over and looked at what I was spinning - the record happened to be “Could It Be You” by Sharon Scott (on RCA) - “Wow, where did you get that, eBay?” I simply replied, “Nope, Long Island.” Naturally he rolled his eyes and walked away, but the truth is, most of the “BIG” records I have in my box came out of Infinity, and for a small fraction of the dough it would take to buy the same records online. If it wasn’t for Infinity Records I certainly wouldn’t have the collection I do today. It is truly a world class record store.
For the away team I’d have to pick This Way Out. It’s the small record/vintage clothes shop underneath The Beachland Ballroom in Cleveland Ohio.
For me there is nothing better than digging for records on the road, and when you can do so twenty feet from sound check - ABSOLUTE PERFECTION! They are always well stocked with quality Soul and Garage 45’s, as well as an eclectic selection of LP’s. It’s the perfect store for the kind of scratchy gem at a monster value.
Personally, I like my records to have a little wear on them – it gives them character. Anyplace where I can pull out The Music Machine “Double Yellow Line” (on Original Sound) and The Showmen “The Wrong Girl” (on MINIT—and for $5 BUCKS!!!) on the same visit and then head up stairs for a frosty tallboy of Genesee Cream Ale, is gold to me.
Hey, wasn't it just a few weeks back that Drink Up Buttercup was in town at DC9?
Well, yes - yes it was. But the band's back in DC at the very same venue after a string of dates across the country which included appearances in Austin at SXSW.
And hey, recall the raves and the 'must see' accolades the blogs tripped over themselves to post?
Well, yes - yes you do.
See where this is going?
We've got another opportunity—a pair of tickets—to see the band this Saturday night along with Haper Blynn at the aforementioned DC9.
And just to sweeten the deal, we've got a copy of the new 'Even Think' 7" b/w 'Heavy Hand' — the band's first single for Yep Roc.
So, hey - recall how to win these tickets? Of course you do.
Scream at the top of your tired lungs in the comments to this post—with email contact info!—as to why youuu deserve to attend Saturday night's irony free scream-a-long and bout of irresponsible drinking and we'll hook you up.
The Velvet Lounge and Bored of Trade present Tooth and Nail—a craft fair for noble savages young and old, Saturday, March 27, 11:00am - 7:00pm at the Velvet Lounge.
Vendors: Bored of Trade | Daisy Lacy | Bkao | Treasury Vintage and new designs! | Murai Vintage | Manatea Party (and Project Dispatch) | DC Conspiracy Comics | Chris Zwart Designs | Laruen Pezzullo Repurposed Vintage | Off The Record bowls by Sheri Mattes | Kari Nye Baked Goods and Jewelry | Phil Barbato Plushes | Crooked Beat Records | Smash! Records | Windian Records | Alison Stout Electronics
DJs: Adrian Parsons | Andrew Buckette | DJ Naraku | Lucas Smudge | DJ Mayo Burn
FREE ADMISSION, bring CASH for shopping. DRINK SPECIALS: $5 mimosas until 4 | $3 PBR tallboys until 7
Over the course of the past few weeks and in the weeks to come, we've been blessed with whip-smart, take-charge coordinators at each label we've highlighted who've helped us put together and navigate our Record Store Day 2010 Label Showcases.
The odd this is though, we've yet to hear from one on the blog—until today as we're joined by The Honeydripper,Daptone’s right hand (wo)man and Soul DJ.
Big City Records is responsible for a huge portion of my record collection. Run by the previous owners of the original “The Sound Library” which was located on 13th street in the LES…Big City Records is just around the corner and opened in 2006. They are the place to go for Hip Hop, Jazz, Soul/Funk and Latin LP’s and 45’s, and they also carry a good amount of our catalog.
The guys running the place are DJ’s themselves and have an incredible taste and knowledge in music, nothing more important when running a record shop right? They are also very out-going and are known to pay attention to the stuff you like to buy and make sure to throw stuff your way to check out next time you’re in which is exactly what I hope to do when I’m record shopping…find new records that are up my alley and in great condition. If you have a record you’ve been after, mention it won’t be forgotten until one comes in.
They are located on a quiet street in the Lower East Side of Manhattan. But don’t let the small size of the shop fool you, there are no fillers, you won’t find a bad record in there making it a favorite stop for many hi-profile producers as well.
The LES is home to two other record shops you should absolutely hit up after Big City Records and that’s Academy Records (415 East 12th St. - They also have a Brooklyn location) and Good Records (218 East 5th Street ). Big City Records is located on 521 East 12th Street between Avenue A and Avenue B and below are some of my favorite purchases made there, all for a whole lot less then I would have paid had I gone to ebay.
The Four Puzzles “Especially For You Baby” Deniece Chandler & Lee Sain “Hey Baby” Carl Carlton “I Can Feel It” The Harvey Averne Dozen “You’re No Good” O’Jays “Shattered Man”
