TVD Los Angeles

TVD’s The Idelic Hour with Jon Sidel

嫩xxx欧美

嫩xxx欧美嫩xxx欧美

Don’t worry, baby / It goes right through me / I’m like the wind and my anger will disperse / Thin persecutors / Your twisted whispers / A horned reptile that is crawled upon the earth

I went for my usual walk / Just tell it like it is / Tell it like it was / Judge and jury, executioner / Judge and jury, executioner / Judge and jury

When darkness follows / And no tomorrows / It’s all been decided / All spies deceptive / All bouncing voices down the echo chamber / Don’t worry, baby / It goes right through me

This week was stressful. Looming over my shoulder was a summons for jury duty on Monday. Add to the mix a second wave of COVID and the continuing frustration with the social and political realities of living in a divided USA in 2020.

Along with real social unrest, it appears 40% of Americans are simply just complete idiots. Or maybe as a people Americans can’t help themselves from acting as such. The good news is things are getting so serious, there is hope that the 60% of us will hang on and make real change to save our herd. Shout out to the generals and judges for speaking out.

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The TVD Storefront

TVD Radar: Eric Clapton and B.B. King, Riding with the King 20th anniversary vinyl reissue in stores today

VIA PRESS RELEASE | Eric Clapton and B.B. King first performed together in NYC in 1967. Over 30 years later, in 1999, the two longtime friends joined forces to create a collection of all new studio recordings of blues classics and contemporary songs. The resulting album Riding with the King would be released in June 2000 and go onto sell over 2 million copies in the U.S. and win the GRAMMY Award? for Best Traditional Blues Album.

?To celebrate the 20th anniversary of this classic album, two additional previously unreleased tracks have been added: The blues standard “Rollin’ and Tumblin” and B.B. King’s “Let Me Love You.” Both tracks were recorded during the original sessions and were produced and mixed especially for this release by Simon Climie, who produced the original album with Clapton. The original tapes have been remastered by Bob Ludwig and is finally available again now in expanded form via Reprise Records.

The 14-track collection will be available in all formats including a 180-gram black double vinyl package. A limited edition 180-gram blue vinyl double LP set will available exclusively in Eric Clapton’s official online store and at indie retailers. The vinyl was mastered by Chris Bellman at Bernie Grundman Mastering in Los Angeles.

The original album features four B.B. King originals, plus a selection of covers from writers as diverse as Isaac Hayes & David Porter (“Hold On I’m Coming”), Johnny Mercer & Harold Arlen (“Come Rain Or Come Shine”), and William Broonzy & Charles Seger (“Key To The Highway”). John Hiatt wrote the album’s title track.

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TVD Radar: Eastrail 177 Trilogy features scores to films Unbreakable, Split, and Glass 6LP box set in stores today

VIA PRESS RELEASE | Waxwork Records, in collaboration with Back Lot Music and Hollywood Records, is proud to present the debut film score vinyl release to M. Night Shyamalan’s Eastrail 177 Trilogy. Composed of Unbreakable (2000), Split (2016), and Glass (2019), the Eastrail 177 Trilogy is a visionary comic-book film series written, produced, and directed by M. Night Shyamalan.

?Unbreakable, about a security guard named David Dunn (Bruce Willis) who becomes the sole survivor of a train wreck, posed the question of what would happen if superheroes were real. At the insistence of a mysterious, rare-comic-book collector named Elijah Price (Samuel L. Jackson), who suffers from a medical condition that makes his bones shatter on the slightest impact, Dunn comes to believe that he has super strength and is impervious to injury or illness. Not only that, he has the ability to see or sense the evil deeds of others simply by touching them.

The Unbreakable score, by James Newton Howard, was the second collaboration between Shyamalan and Howard, following their work together on The Sixth Sense. The Unbreakable score experience was unlike any the composer had had before. “Night sat there and storyboarded the whole movie for me,” Howard said. “I’ve never had a director do that for me. He wanted something that was very different, very distinctive, that immediately evoked the movie when people heard it.”

Howard and Shyamalan chose to simplify the score, and minimized the number of instruments (strings, trumpets and piano), with limited orchestrations. Some compositions were recorded in a converted church in London. “You could have recorded the same music in a studio in Los Angeles, and it would have been great, but there is something about the sound of that church studio,” Howard said. “It’s definitely more misterioso.”

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TVD Radar: Giant Sand, Ramp 2LP reissue in stores 7/17

VIA PRESS RELEASE | Newly remastered double LP beautifully repackaged gatefold sleeve with new artwork and expanded liner notes with a second disc that includes Mad Dog Studio sessions from 1991. An essential Giant Sand album featuring Victoria Williams, Rainer and country veteran Pappy Allen.

?A firm fan favourite, Giant Sand’s essential 1991 album Ramp was the second of three revered albums the band released in the early ’90s. Now set for a remastered special indie store exclusive, the new edition released on 17th July comes beautifully repackaged in a gatefold sleeve with new artwork and expanded liner notes from MOJO’s Dave Henderson. Ramp is a magical trip with a host of guests including Victoria Williams, Rainer and Pappy Allen.

“One of Giant Sand’s strongest and most complete albums.”
The Quietus

Featuring piano lounge music for an off-world colony interrupted by an onslaught of guitar when needed. Reverb on, fuzz friendly. Up to 11, it’s light and dark and the better for it, a musical journey on a road less travelled. All sounds are welcome; banjo, dobro, pedal steel, plaintive harmonica, whistling all wrap themselves around the flow of consciousness; those truly memorable words. The Tucson sound at its very best.

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The TVD Storefront

Graded on a Curve: 10,000 Maniacs,
In My Tribe

Some things you should know about the 10,000 Maniacs:

1. There only five of them. None of them are maniacs.

2. Natalie Merchant has a voice so lovely I’d dive into an icy lake to rescue it. Kinda husky, but not husky in a hockey player kinda way. More like Stevie Nicks without the cockatoo on her shoulder kinda way.

3. 10,000 Maniacs have yet to receive their due for spawning the Lilith Fair.

4. Natalie Merchant’s a folk artist in the grand tradition of the late Dan Fogelberg.

5. The word that best sums up the the music of 10,000 Manias is placid. But not placid as in Lake Placid, the horror movie where a 30-foot-long saltwater crocodile chows down on the citizens of Maine.

5.1. Had the man-eating crocodile in Lake Placid put In My Tribe on heavy rotation, today he’d be the owner of a New Age boutique.

6. “Like the Weather” is a fantastic song and I love to sing along with it in the car, despite the fact I don’t know the words. This tends to irk the other people in the car.

7. Cat Stevens’ “Peace Train” appeared on the original release of In My Tribe, but was omitted from later U.S. releases. I don’t want to go into the religious issues involved, but suffice it to say that had Salman Rushdie jumped aboard the peace train, Stevens would have pushed him off.

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A morning mix of news for the vinyl inclined

In rotation: 6/26/20

HMV’s Doug Putman on the future of CD: HMV’s owner Doug Putman has spoken to Music Week about the future of the chain and physical music following its reopening. In the latest issue, Putman calls on the music industry to back HMV as it tries to regain some momentum after lockdown – and warns on a possible change to the product mix if suppliers don’t fully support him. HMV stores were able to open from June 15, in line with other record shops. The entertainment chain introduced strict safety measures, including social distancing signage, screens and sanitiser. Across the music retail sector, sales were up last week and were given a further boost by the Love Record Stores promotion at the weekend Shoppers returned to HMV from last week, and Putman is confident that vinyl fans will accept the new normal. “I think that’s just the culture, if you love being in an HMV,” he said. “We just have really great customers.” HMV also launched a new personal shopper service, which enables customers to leave a list with staff, who could also provide recommendations.

Kirkley, UK | Former restaurant to be transformed into vinyl lounge: A record store is to relocate and expand its business with the opening of a vinyl lounge in a popular former restaurant. Aux Records will move from its Waterloo Road base, in Kirkley, around the corner to London Road South as it prepares to welcome customers to the new vinyl lounge. The new site has been empty for almost a year after the closure of Desmond’s restaurant. Owner Jan Mulder said: “We are relocating to the former Desmond’s restaurant around the corner on London Road South and expanding our current business. “It is still going to be based around our vinyl store, but with a cafe and lounge where people can come and listen to music and have a coffee. People can still come and browse and buy records with a wide range on offer.” The store opened last autumn after Mr Mulder left his job at a care agency to pursue his passion for music. He said: “I’m really excited about the move. The current business has been building since I opened last October and we are ready to take it to the next level.

Move The Record aims to support local vinyl stores with live music streams: A bit like High Fidelity, but online and with many record stores. Want to save independent record stores (who often gain essential revenue from hosting live events and representing acts under their own labels) from closing, as a result of the coronavirus? Good, Rob at Championship Vinyl would salute you – but we’ll stop talking about the Nick Hornby novel and subsequent John Cusack movie High Fidelity now (promise). Move the Record is a global initiative devised in response to the uncertain future that bricks-and-mortar record shops are facing worldwide. And let’s not forget, the 33? vinyl LP only just celebrated its 72nd birthday, so it’s high time for an online event. Move the Record’s first edition is set to take place across Friday 3rd July and Saturday 4th July, and will comprise 2 x 12-hour broadcasts of 2-hour sets from record shops around the world, featuring a diverse range of some of the world’s best DJs, all playing in the world’s best record stores. Organisers say that discounts of up to 20% – as well as various other offers and events – will be in place across partaking stores’ online platforms for 48 hours.

Aberdeen, UK | Aberdeen Vinyl Records shop relocates and announces plans to reopen: Aberdeen Vinyl Records has moved premises and announced its plans to reopen. The store, which was based in Aberdeen Market, stated it has now moved to a new unit on Union Street. Located on 101 -103 Union Street near HSBC, the popular vinyl record store will reopen on Monday June 29. The shop’s spokesperson said: “We’ll be sharing the shop with our good friends at Gift Wrap and we’ll have slightly more floor space than we had in the Market. “We’re getting our shop signage and social distancing measures all worked out and ordered up now.” In addition to more than 5,000 LPs, the store also has some reasonably-priced collectables on offer.

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The TVD Storefront

TVD Radar: Tony Allen Live in London, short film streaming now

VIA PRESS RELEASE | World Circuit Records today present Tony Allen Live in London, a short film about Tony Allen’s recent Rejoice live shows. The piece was filmed at one of the two very special Rejoice shows Allen performed at London’s Church of Sound in mid-March, just a few weeks before his untimely passing at the end of April at the age of 79. Watch/share the film below.

?In addition to clips of live performances from the night, the piece features interviews with Allen himself and some of the prestigious musicians who joined him on stage including South African trumpet player Claude Deppa and double bass player Mutale Chashi. Tony commented on the film back in April, “I played two shows in London in March, which were meant to be the first of many Rejoice shows this year. It was good to be playing these songs on stage so many years after the recording. My good friend Claude Deppa is a great South African trumpet player, we asked him to play Hugh’s parts on stage. Unfortunately, the lockdowns started shortly after.”

Allen will be posthumously awarded the Outstanding Contribution To Music at this year’s AIM Awards, taking place virtually on August 12, with recent single “We’ve Landed” receiving a nomination for Best Independent Track. Allen & Masekela’s second single from the album, “Never (Lagos Never Gonna Be The Same),” is a jazz-meets-Afrobeat-hued tribute to Fela Kuti, the towering pioneer of Afrobeat who collaborated closely with Allen for decades. The video for the track features footage of Allen & Masekela playing the song at the original 2010 recording sessions at Livingston Studios in London. Stream/share the video below

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Graded on a Curve: Joseph Spence,
Bahaman Folk Guitar: Music from the Bahamas, Vol. 1

There are a few utterly joyful experiences in this world, and one of them is the music of Joseph Spence. In 1958 while on a field recording expedition in the Bahamas, Samuel Charters captured Spence’s unique guitar playing and idiosyncratic singing; the combination is amongst the most infectious entries in the folk canon. Those tapes comprise Bahaman Folk Guitar: Music from the Bahamas, Vol. 1, first issued by Folkways in ’59, and has received a welcome reissue by the label, tucked into an old-school tip-on jacket with the original liner notes.

From Andros Island in the Bahamas and a stonemason by trade, Joseph Spence is one of folk music’s true originals. The notes to this reissue emphasize the importance of the guitar to Bahaman life during the period of its recording, and amongst no shortage of talent on the instrument, Spence was acknowledged as the best around. He tapped into the three threads of song popular in the island nation at that time; the older “anthem” songs, southern USA-derived spirituals, and the “folk songs” that accompanied dancing and enlivened parties.

When Charters first heard him, playing for workers as they built a house, the folklorist was convinced a second guitarist was accompanying him nearby. Later that day, on the other side of the settlement of Fresh Creek, Charters recorded Spence entertaining a small gathered audience. This LP offers the bulk of that impromptu session, a landmark in personal folk expression that resulted in subsequent releases on Elektra, Arhoolie, and Rounder.

I first read of Joseph Spence in Byron Coley’s “Underground” column in SPIN magazine, the April 1988 issue in fact, though by the time I caught up with it, that edition was about a year old. It took me good while longer than that to hear the guy’s stuff, as the store racks turned up nothing, and the same with the libraries in my area. Of the locals I consulted who were affirmative of Spence’s stature, none were record collectors. Those were the days.

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The TVD Storefront

Marchelle Bradanini,
The TVD First Date

“In the modern arms race to reduce music to its most easily digestible digital form, there is something so defiant and downright radical about vinyl. Having an artist demand your time and attention for the length of an entire LP seems revolutionary in 2020. And yet even with our ever-dwindling attention spans, there is still something in our core which desires that deeper, magical and transformative connection.”

“Music has always been my lifeblood and the well I return to when nothing else makes sense. I’ve spent countless late nights alone with my records listening to the understated brilliance of Karen Dalton, Bobbie Gentry, Lucinda Williams, Townes Van Zandt, John Prine, Nina Simone, Julie London, Bob Dylan, Leonard Cohen, and Howlin’ Wolf to name a few of my greatest hits. My relationships with these records is so personal and intimate. It’s like visiting an old friend that has some insight into the universe I’m hoping to catch a glimpse of.

When I think about the first time I heard Nebraska or Highway 61 Revisited or Lead Belly or Aretha on vinyl, it’s basically the equivalent of BC / AD. They altered the course of my life and thinking and fundamentally challenged and changed my worldview.

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The TVD Record Store Club

Graded on a Curve:
New in Stores for
June 2020, Part Five

Part five of the TVD Record Store Club’s look at the new and reissued releases presently in stores for June, 2020.?Part one is here, part two is here, part three is here, and part four is here.

NEW RELEASE PICKS: Céu, APK?! (Six Degrees) This is the fifth release from the S?o Paulo, Brazil-based singer and composer Céu, but it’s the first I’ve heard. The blend of pop, electronic elements, dance rhythms, classic Brazilian song and even flashes of psychedelia has me excited to investigate her earlier stuff, though this set is being promoted as a metamorphosis for the artist (indeed, a chrysalis gets mentioned). She’s accompanied here by her producer-drummer husband Pupillo and a core band of familiars that includes Frenchman Hervé Salters on keyboards (he also co-produced). There are a few guests, with guitarist Marc Ribot among them, which I admit perked my interest right up, though the quality of Céu’s vocals and compositions had me shifting focus right quick.

Nine out of the eleven tracks are hers. In what’s described as a new move for Céu, she tackles a pair of outside compositions, specifically interpreting Caetano Veloso’s “Pardo” and a fresh piece, as she requested that Dinho from the group Boogarins write a song for the album (“Make Sure Your Head is Above”), a smart move as she and Ribot shine on the track. Overall, I’d guess that listeners into folktronica and Tropicalia should find this record right up their alley. The album also seems to have been out for a while, as a compact disc and vinyl was issued in Brazil last year (a green opaque club edition co-released by a few Brazilian entities), though Six Degrees is handling the distribution in the USA and Europe. My copy of APK?! arrived on CD, but I have noticed a vinyl pre-order online. Hopefully, it gets another pressing on wax, as the contents strike my ear as especially conducive to the format. A-

REISSUE/ARCHIVAL PICK: Sound of The San Francisco Christian Center, s/t (Cultures of Soul) Founded in 1954, The San Francisco Christian Center is noted as one of the first churches, circa the late ’60s, to welcome disaffected hippies. If you’ve studied up on the era, you know there was quite a few youngsters in the Bay Area fitting the description, as thousands seeking the idyllic liberation lifestyle poured into the region and were greeted with…something else. Frankly, the SFCC’s generosity was just a Christian thing to do, but mentioning it really gets to the good vibes positivity that emanates from the grooves of this reissue. The LP was initially self-released in 1978, with that edition (there have been no other pressings until now) highly sought after and very expensive. It features a killer band soaring under the direction of multi-instrumentalist and arranger Carl Fortier, with the results stylistically intersecting with the bold and lush motions of the same era’s pop-soul and R&B.

To be sure, this album effectively underscores the intrinsic connection between gospel and its secular genre descendant, soul, but folks who prefer their Christian sounds to be hotter and a little edgier and rawer need be prepared for the pure breadth that’s in evidence across this album, as Fortier and the band gained access to what sure sounds like a mellotron (there are also synths), which intensifies the lushness placing this as contemporary to ’70s Stevie and Earth, Wind & Fire. Another stated influence on the proceedings is the San Fran-based Andraé Crouch, with this association hopefully driving home the sounds on offer here. Still, as someone who gravitates to those wilder examples of gospel heat (as previously compiled by labels like Tompkins Square), I must relate how this LP completely won me over, as the sheer celebratory joie de vivre in the playing and singing ultimately proved impossible to resist. Originals have sold for hundreds of dollars, so this repress is a smart buy for those inclined. A-

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A morning mix of news for the vinyl inclined

In rotation: 6/25/20

UK | Love Record Stores Day boosts music retail, taking over ?1 million in revenue: “We had really high hopes for Love Record Stores Day, but things exceeded even our most ambitious expectations.” Love Record Stores Day has delivered a big boost to music retailers in the UK after taking over ?1 million in revenue. Taking place online on Saturday (June 20), Love Record Stores Day was held to replace the rearranged Record Store Day 2020 — which has been postponed twice this year due to the coronavirus outbreak — as the latter will now be split over three dates (August 29, September 26 and October 24). Its aim was to get music-lovers to support their favourite independent record stores by shopping online, with an array of exclusive and limited edition vinyl releases being made available by a variety of artists and labels. …A survey of participating retailers discovered that the vast majority of this stock was sold out within one hour of being made available online.

Wellington, NZ | The music’s not over, don’t turn out the lights: Julian Lloyd Webber popped in and bought a Pat Boone album. An obliging Kenny Rogers was getting fish ‘n’ chips next door. One of those Oasis guys dropped by. In the decades of selling music out of Slow Boat Records on Cuba St in central Wellington, Dennis O’Brien has seen a parade of famous musicians pass through his shop. He originally started Slow Boat in a storeroom off Plimmer Steps before moving to Cuba St. Eventually, he bought the former Westpac bank on the street, which has been home base for years. “I bought the bank,” O’Brien half-laughs in the back office, stacked high with music. As he prepares to sell most of the business to current staff and take a step back, it is the old friends that pop in that he’ll miss the most. “Everybody comes in at some stage, every guy I have ever been to school with.” …The history of the shop is peppered with celebrity, such as the time in 2015 a customer bought a Tami Neilson album, only to find out the singer was in-store and signed it for her. Neil Finn played in-store one day in 2015. Robert Plant, of Led Zeppelin fame, dropped by in 2013 and bought an album by British singer Holly Golightly.

Harrogate, UK | U2 star this week in Harrogate’s Vinyl Sessions event: Harrogate’s weekly online Vinyl Sessions event returns this week with two classic albums by U2. The double bill of terrific albums from the peak of the Irish rock superstars’ success on Wednesday night will include The Unforgettable Fire and The Joshua Tree. Since vintage hi-fi expert Colin Paine set it up two years ago, Vinyl Sessions has raised more than ?13,000 for Friends of Harrogate Hospital charity. Even when lockdown forced it to move from physical to digital, Starling bar and cafe in to Zoom, it has still managed to raise more money as it has continued to shine a light on some of the world’s greatest music acts. Released in October 1984, recording on The Unforgettable Fire began in May 1984 at Slane Castle, where the band lived, wrote, and recorded to find new inspiration. The album was completed in August 1984 at Windmill Lane Studios and is full of what lead singer Bono described as atmospheric sounds and “sketches”.

Asheville, NC | Mark Capon brings an analog pastime into the digital age: Mark Capon, co-owner of Harvest Records on Haywood Road in West Asheville, says his shop has been closed to the public since March 17. Despite being allowed to reopen at a limited capacity, he plans to wait to ensure the safety of his staff and the community at large. But while the storefront remains shuttered, the business has started offering curbside pickup, mail orders and the occasional local delivery as Capon tries to reimagine the usual record store experience through a virtual platform. Instead of customers leisurely thumbing through hundreds of vintage and new vinyls — which includes about 10,000 pieces of vinyl among its 15,000-item inventory — Capon says he’s using the store’s social media accounts to present glimpses of its collection and highlight noteworthy offerings. “It’s a physical store with physical media that people like to come in and comb through, so you kind of have to rewire your brain to get people to feel like they’re still combing through the records,” he says.

Daniel Johnston Box Set Confirmed For Record Store Day: Daniel Johnston’s work will be celebrated in a new box set. The special Record Store Day release comprises several out of print albums, alongside some cool merch. Only 500 copies will be available, with ‘The End Is Never Really Over’ following the much-loved songwriter’s death last year. The box set features vinyl copies of two albums – ‘1990’ and ‘Artistic Vice’ – alongside seven stickers of Daniel’s inimitable doodles, and a 16 page art-book. Alongside this, you’ll get a Jeremiah the Frog pin, and a Daniel Johnston x FOLK Clothing tee with the songwriter’s Captain America ‘End of the Show’ drawing. Pretty damn snazzy, we’re sure you’ll agree. ‘The End Is Never Really Over’ is out on August 29th.

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The TVD Storefront

TVD Radar: The Running Man (Deluxe Edition) 2LP OST in stores 8/14

VIA PRESS RELEASE | Varèse Sarabande Records is thrilled to announce the upcoming special release of The Running Man Original Motion Picture Soundtrack (Deluxe Edition) by GRAMMY?-winning composer Harold Faltermeyer (Beverly Hills Cop, Top Gun, Cop Out and the upcoming film Top Gun: Maverick). The Deluxe Edition version will be available digitally and released on LP for the first time on August 14, 2020. The LP version is available for pre-order today, June 15, on VareseSarabande.com.

?In the year 2019, America is a totalitarian state where the favorite television program is The Running Man—a game show in which prisoners must run to freedom to avoid a brutal death. Having been made a scapegoat by the government, an imprisoned Ben Richards (Arnold Schwarzenegger) has the opportunity to make it back to the outside again by being a contestant on the deadly show, although the twisted host, Damon Killian (Richard Dawson) has no intention of letting him escape.

The original (1987) 17-track soundtrack has been expanded to 35 tracks, which include additional music and unreleased and alternate cues. The album was remastered from the original Paramount Pictures sources. The package features original artwork, images from the film and a booklet with extensive liner notes by film music journalist Daniel Schweiger.

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Graded on a Curve:
Betty Davis,
The Columbia Years
1968-1969

For lovers of ultra-wicked funkiness, the name Betty Davis is an aphrodisiac of uncommon potency; a few years back her string of ’70s underground classics found deserving reissue by Light in the Attic, and the label has released her very enlightening late ’60s sessions. Cut prior to and during her brief marriage to trumpeter Miles Davis, The Columbia Years 1968-1969 illuminates a formative but highly productive period in the career of a considerable talent who remains too seldom heard.

Before getting hitched she was Betty Mabry; Miles nuts know it’s her picture on the cover of ’68’s Filles de Kilimanjaro and that the album’s closing track “Mademoiselle Mabry” is named after her. However, it’s important to note that she wasn’t discovered by Davis, having cut a pop single for Frank Sinatra arranger Don Costa’s DCP International label in ’64 as her song “Uptown” was covered by The Chambers Brothers on Time Has Come Today in ’67.

As related in John Ballon’s liner notes for this set, it was through her involvement in a group of trendsetting women known as the “Cosmic” or “Electric Ladies” that Miles came under her sway, with the impact of the younger on the older extending to the musical. This may seem questionable to casual observers given the hugeness of Miles’ legend, but the situation is borne out by the facts.

Mabry and her cohorts’ passion for the “avant-garde pop music” (in Miles’ description) of Hendrix, Sly Stone, and Santana opened the trumpeter’s eyes as he sat on the cusp of his electric period, with this connection having been previously articulated in Davis’ autobiography; the uncovering of these (astoundingly never bootlegged) vault recordings gives his statement even deeper credence.

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Graded on a Curve: Bachman-Turner Overdrive, Not Fragile

I may or may not have once described that inimitable Bachman-Turner Overdrive sound as meat and potatoes rock, minus the meat. And I may or may not have once called them Bachman-Turner Overweight. But if I did so, I was joking. I love BTO. They remain, no doubt about it, Manitoba, Canada’s finest ever contribution to the un-fine arts. The music critic Robert Christgau, a fan as am I, once summoned up the band’s lead-footed lumberjack charm with the words, “Clomp on.”

BTO were about as subtle as a blow to the head; imagine a Canadian Bad Company. They playfully entitled their 1974 LP Not Fragile as a retort Yes’ LP Fragile, because they felt their music could be “dropped and kicked” without suffering any damage. Hard rock doesn’t come any harder than this; when they call a song “Sledgehammer,” they’re not pussyfooting around like that English fop Peter Gabriel.

No, this is blue-collar rock, and to paraphrase Lynyrd Skynyrd, all you effete pencil pushers are advised to stay out of BTO’s way, especially when C. Fred Turner’s doing the singing. Compared to his gruff, no-nonsense vocals, Randy Bachman may as well be Mariah Carey.

It’s a pity that BTO is perhaps best remembered as the band that brought us “Takin’ Care of Business,” because while nobody in the band strikes me as a Mensa candidate, “Takin’ Care of Business” is too dumb for words. Me, I’d sooner remember them for such great songs as “You Ain’t Seen Nothing Yet,” “Roll on Down the Highway,” and “Let It Ride,” to name just a few of the band’s keepers.

Not Fragile’s title track is a midnight creeper, and could easily pass for a Spinal Tap song, and I mean that as a compliment. The only thing cooler than Turner’s singing, “Comin’ to you cross country/ Hoping boogie’s still allowed/ You ask do we play heavy music/ Well, are thunderheads just another cloud, And we do/ Not fragile, straight at you” is the way R. Bachman intones the words, “Not fragile” behind him. The guitar solo is pretty cool too.

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The TVD Storefront

Lauren Lakis,
The TVD First Date

“Analog has always ruled my heart, versus its respective digital counterpart. Give me an old hardbound book over a kindle, 35mm film and polaroid snaps, and the warmth of a tape machine or record player any day.”

“Having been raised on tapes and CDs, my introduction to vinyl records came later in life, around the time I was writing my first album. I grew up first listening to my mother’s CDs: Natalie Merchant, Matthew Sweet, Boys II Men, and the entire Cranberries discography played on repeat in our Baltimore home. She was pretty hip to the ’90s music scene and was a big fan of the short-lived Lilith Fair.

Naturally, my first CDs were gifted to me from her boyfriend’s mother; Fiona Apple’s Tidal and Garbage’s debut self-titled album. I imagine she walked into a Sam Goody store and asked what the kids were into these days, and I’m so grateful they handed her those albums! I still listen to them today, and they certainly continue to influence my songwriting.

When I was a teenager in Baltimore City, we had this amazing music store called Sound Garden, where my friends and I would go every Friday night. We would save up our money all week just to spend it on iced chai lattes and used CDs, to hold us over until the following weekend.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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