Monthly Archives: May 2018

Graded on a Curve:
Beastie Boys,
Licensed to Ill

Well here it is: the album that changed everything–for the better! The fiery shot of hip hop fired across the bow of rock’n’roll that succeeded (spectacularly!) by swiping its most monstrous riffs from rock’n’roll itself, and its brash, crass, and hilarious attitude from punk.

As I remember it, 1988’s Licensed to Ill did the impossible by converting predominantly white hardcore punks and rockers to an almost exclusively black musical genre (hip hop) OVERNIGHT. I recall attending a party being thrown by a couple of Johnny Thunders wannabes at a roach-infested crash pad in Philly, and lo and behold all every sneering personality crisis in attendance wanted to do was jump joyously around to Licensed to Ill until the morning hours.

Do you think it’s easy to instantaneously win hearts and minds? To turn cynical hive-minded hardcore kids (just like the Beasties when they started out) into the kinds of responsible world citizens who immediately rushed out to buy Public Enemy’s black-consciousness-expanding It Takes a Nation of Millions to Hold Us Back after a single playing of “No Sleep till Brooklyn”? Licensed to Ill was the boldest blow for race mixing this side of P-Funk. Or Brown v. Board of Education of Topeka even. Or Public Enemy for that matter. True, even the most cursory glance at Kid Rock should be enough to tell you this remarkable phenomenon had its downside (God Save Us From Vanilla Ice!) but STILL.

But Licensed to Ill was more than just a remarkable blow for instant integration. The Beastie Boys muscled their way to the front of the bus on the basis of sheer bravado and a snotty sense of New Yawk humor not heard since the Dictators released the great Go Girl Crazy! Mike D., MCA, and Ad-Rock were that crazy kid down the block who lived to get high, liked to egg cop cars, and had that insane stash of Hustler magazines. And who thought everything was funny; hell, he even laughed while he was PUKING.

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In rotation: 5/4/18

New record store opens in Park: GROSSE POINTE PARK — Standing behind the counter of Ripe Records Detroit, the newest addition to Charlevoix in the Park, Andrew Curcuru cleans a new batch of records set to go on the shelves. “When you leave here you’re getting a clean record,” he said. “I didn’t want to be like all the other record stores where you go in there and they’re selling bongs and T-shirts and incense. That’s not me. This is a vinyl store.” Curcuru and his wife, Kathy Garrido, and their son, Alex, officially opened the store Saturday, April 21, on Record Store Day. They buy, sell and trade new and used records, as well as sell and service turntables, speakers and receivers. Curcuru said everything in the store is analog, with all the refurbished turntables, speakers and receivers from the ’70s and ’80s.

If you love monsters and music, you’ll love this new record store in Collinsville: Collinsville residents know Bill Cherry as an Elvis tribute artist who travels all over the world performing rock ‘n’ roll hits from the ’50s, ’60s and ’70s. But now the hometown boy with long black sideburns and a bright white smile is adding “shop owner” to his repertoire. Cherry recently opened Monster Vinyl, a record store that combines his love of music and monsters. Racks are filled with albums, CDs, cassettes and eight-tracks. Shelves are lined with vintage toys, dolls, action figures and other collectibles, many related to sci-fi and horror films. “It’s like my bedroom, open to the public, without the bed,” Cherry said, laughing.

Vinyl and Coffee Ride Together at Chicago Multiroaster Purple Llama: Music lovers all over the world celebrated Record Store Day on Saturday, April 21, this year, which also happened to be the fitting first anniversary of Chicago-based Purple Llama, a multiroaster coffee shop and record store hybrid in Wicker Park. With more live performances and community events in the works, founder Joel Petrick and the rest of the Purple Llama team, including Director of Coffee Dylan Connell and General Manager and Vinyl Buyer Adam Hirzel, envision the shop not just as a coffee spot or a music spot, but as a true hybrid inspired by both. To commemorate its first year, Purple Llama is launching a Coffee & Record Subscription, a bi-monthly box set that will pair coffee roasters and records from all over the world.

New App Automatically Recognizes Album Covers, The Shazam of album art is ideal for diligent crate diggers: A new app is being billed as “the Shazam of album covers,” and we’re all for it. The new app is called Record Player and it was designed with Glitch by Patrick Weaver. The app utilizes Google Cloud Vision API and the Spotify API to automatically recognize album cover artwork and direct you to the album on Spotify. The app seems like the perfect tool for avid music fans and regular vinyl crate diggers who may want to preview an album that catches their eye in a store so they can check it out before purchasing it. Interest in vinyl records has soared in recent years, especially due to events like Record Store Day and their placement in big retailers. According to Billboard and Nielsen Music, vinyl LP sales have reached a record high, accounting for 14 percent of all U.S. physical album sales in 2017, an 11 percent increase from 2016.

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TVD Vinyl Giveaway: The Who, Live at the Fillmore East 1968

Friends, there’s a reason we tend to put special releases on your radar daily—it’s often for purchase at your local record shop, and at times because we’ll have one to give away to one of you. Such is the case with the gorgeous 3-LP set, The Who, Live at the Fillmore East 1968 which is in stores as you read this. We have a copy to send to one of you, but first some official background:

The Who were in New York to conclude a grueling tour on April 4th, 1968, the day that Dr. Martin Luther King Jr. was assassinated. America was already a country divided; Anti-Vietnam demonstrations, civil rights disturbances, and militant student activism. With this turmoil as a backdrop on Friday and Saturday, April 5th and 6th, 1968, The Who performed two incendiary live sets at Bill Graham’s legendary Fillmore East on the lower East Side of Manhattan.

The venue had only just re-opened in March by Graham from its previous incarnation as the Village Theatre where the band had played on a couple of occasions the year before. The Who was the first British rock act to headline the Fillmore East and were booked to play four shows over the two nights. However, because of feared social unrest in the wake of Dr King’s assassination, it was decided to compact the shows into one per night.

The Who’s time in New York City in 1968 can best be described as “lively.” Keith Moon’s antics with cherry bomb explosives had meant that the band had to move hotels. When installed in at the plush Waldorf Astoria he then somehow managed to a blow a door off its hinges and, the band had to move once more.

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TVD Radar: Graham Nash, Over The Years…
2-LP set in stores 8/31

VIA PRESS RELEASE | Towering above virtually everything that Graham Nash has accomplished in his long and multi-faceted career, there stands the litany of songs that he has written and introduced to the soundtrack of the past half-century.

Two-time Rock and Roll Hall of Fame inductee Nash burst on to the scene during the British Invasion with The Hollies before he formed the legendary supergroup Crosby, Stills and Nash in 1968 with David Crosby and Stephen Stills. As Nash prepares to launch a European tour in July, Rhino looks back at some of his best-known recordings from the past 50 years in a new anthology featuring more than a dozen unreleased demos and mixes.

Over The Years… features 30 tracks and will be available on June 29 as a two-CD set ($24.98) and on digital download and streaming services. A 15 track, double-LP version ($31.98) featuring an etching on “Side Four” will be released on August 31. The anthology has been painstakingly curated by Nash and longtime associate Joel Bernstein and includes extensive credits and liner notes.

“It does my heart good to present my songs this way. I hope that listeners will enjoy hearing the demos of my songs – how my demos of ‘Our House,’ ‘Teach Your Children,’ and others turned into the records that have endured ‘Over The Years,’ how I started writing them, and how they became the now familiar recordings when they were released,” said Nash.

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Our Jazz Fest Picks
for Friday, 5/4

The marathon is just getting going for those festers attending every day of the 2018 New Orleans Jazz and Heritage Festival. Friday is a musically strong day. Here are our picks. The full Friday schedule is here.

Start your day at the Jazz and Heritage stage for Kumasi. This giant band takes its cues from the Afrobeat of Fela Kuti, the great Nigerian superstar. They have a front man who sings and plays saxophone. He also regularly appears in a loincloth. But despite those similarities, Kumasi writes all their own music and will have you dancing before noon.

Brian Seeger is one of the unsung heroes of modern New Orleans jazz. A guitarist and longtime professor in the jazz program at the University of New Orleans, he has a sterling tone and enhances any project he works on. He appears in the Jazz Tent with his Organic Trio.

Tank and the Bangas are a full-on New Orleans musical phenomenon and are poised to reach the highest plateaus of the music business in record time. Just a few years back, the band, led by singer and former slam poet Tarriona “Tank” Ball, was playing small clubs in New Orleans. They recently played at Coachella, a serious tastemaker’s festival, and are now signed to a major label. Check out their new single below.

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TVD Premiere: Desert Clouds, “Under Tons”

We are extremely pleased today to be able to premiere alt-rockers Desert Clouds’ new single, “Under Tons,” exclusively here at TVD.

“Under Tons” builds slowly with lead singer David Land going full Bowie with his eccentric vocals. As the chorus comes into swing, the song turns 360 degrees and bursts into one serious, unapologetic classic rock anthem.

Huge distorted guitar riffs sounding akin to Queens of The Stone Age take over before the second verse comes in and then effortlessly transforms into beautiful blues-infused licks. Desert Clouds are a band who are hard to pinpoint, but one thing’s for sure—you won’t get bored.

Formed in London in 2008, Desert Clouds have been honing their sound for the past decade and if “Under Tons” is anything to go by, they show no signs of slowing down.

“Under Tons” arrives in stores on 4th May 2018 via Jiffybag Records.

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Graded on a Curve:
New in Stores, May
2018, Part One

Part one of the TVD Record Store Club’s look at the new and reissued releases presently in stores for May, 2018. 

NEW RELEASE PICKS: Blues Lawyer, Guess Work (Emotional Response) Rob I. Miller (Mall Walk), Elyse Schrock (The World), Alejandra Alcala (Preening), and Nic Russo (aka Dick Stusso) hail from Oakland but are neck-deep in UK minimalist punk (think Pink Flag-era Wire), post-punk (a la early Television Personalities), and a guy-gal bruised feelings-frustrated romance feel (the Vaselines citation is right on the money). This lean set (ten songs in 20 minutes) is a gem with some sneakily sharp guitar (in addition to the indefatigable jangle-strum), clever sequencing (with the three-punch combo of “Turf,” “27th St.,” and the inner-pain-of-the-perennially-overlooked gem “Real Cool Guy” helping shape the second half), plus a killer culminating detour in “I Tried.” A lark, but one destined for classic status. A

Venetian Snares x Daniel Lanois, S/T (Timesig / Planet Mu) Multi-instrumentalist Lanois has put out his own records, but his real claim to fame derives from an extensive list of production credits including U2, Dylan, Neil Young, Willie Nelson, and Emmylou Harris. Those progressive country leanings help to underscore the unlikeliness of a team-up with prolific breakcore/ drum and bass guy Aaron Funk (the fellow Canadian who is Venetian Snares). On the other hand, Lanois has worked productively with Brian Eno, Harold Budd, and Jon Hassell. But enough background, as this pairing works swimmingly; even during this digestible LP’s most hectic moments (and there are a few), Lanois pedal steel atmospheres are recognizable and provide productive counterpoint to Funk’s rhythmic aggressiveness. A-

REISSUE/ARCHIVAL PICKS: The Just Measurers, Flagellation (Emotional Response) UK DIY is a glorious rabbit hole to fall into, but one best recommended to folks who gravitate to post-punk as a stylistic expansion rather than a refinement or commercialization. Initially issued (in a run of 300) on the deservedly legendary It’s War Boys label, and featuring members of Homosexuals, Milk From Cheltenham, L. Voag, Die Trip Computer Die, Amos and Sara, etc., The Just Measurers’ sole LP journeys through a labyrinth of street level experimental pop discombobulation. Aptly described as being (like a handful of their UK DIY peers) roughly compatible with the sounds (emerging at around the same time) of the Los Angeles Free Music Society, from start to finish Flagellation a wonderful thing. A

Fred McDowell, Mississippi Delta Blues (ORG Music) For heavy-duty blues nuts, only a slim percentage of McDowell’s discography can be considered skippable, as the man conveyed emotional intensity and instrumental sturdiness both acoustically and plugged-in on many (yet not voluminous) studio sessions, home recordings, and captured live performances. This means novices who wish to dabble can jump in at numerous spots and not be let down. However, for the less fervent blues fan I would consider a few to be essential: the Lomax recordings, the first one for Arhoolie, his electric debut I Do Not Play No Rock ‘n’ Roll, and this one, which courtesy of Alan Bates (and initially released on Black Lion) documented McDowell solo (with a little help from his wife Annie Mae) in 1965. Worth it for “Lucille” alone. A

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In rotation: 5/3/18

Record Store Day 2018 hits new high: Album sales were up 33 percent on Record Store Day 2018 (RSD), according to Official Charts Company (OCC) data for April 21. Organisers of the one-day celebration of vinyl have reported that an estimated 60,000 LPs were sold on the day, followed by approximately 30,000 vinyl singles – marking an overall 7 percent year-on-year increase in unit sales. David Bowie’s Welcome To The Blackout – a RSD exclusive – was the most in-demand release, topping the UK vinyl chart and entering the official Top 40 at number 22. Vinyl sales in the UK overall were up 16 percent year-on-year according to the OCC, although sales of singles dropped year-on-year, as customers moved towards the album format.

Led Zeppelin Score Chart Topping Hit With RSD Release: Led Zeppelin have topped the UK Vinyl Singles Chart with their debut Record Store Day release. The band’s limited edition 7″ single featuring previously unheard mixes of “Rock And Roll” and “Friends” landed at No. 1 on the chart ahead of tunes by David Bowie, U2 and Jimi Hendrix, among others as issued as part of the April 21 event celebrating the culture of independent record stores. The previously unreleased version of “Rock And Roll” provides an additional peek into the fabled 1971 “Sunset Sound Mixes” of “Led Zeppelin IV”. Only two previous “Sunset Sound Mixes” have been released, the first being the version of “When The Levee Breaks” on the original album and the second the “Stairway To Heaven” mix that debuted on the 2014 deluxe edition reissue of the band’s fourth record.

Tom Petty, Van Halen … Prince?! This Des Moines duo created art for some of rock’s biggest albums: Photo shoots with Tom Petty. Car rides with Stevie Wonder. Studio time with Fleetwood Mac. One fan’s rock ‘n’ roll fantasy is reality for Jay Vigon and Margo Nahas, a husband-wife artistic duo who spent decades crafting album covers for some of the world’s best-known rock stars. And, on Friday, Iowans get a chance to step behind the lens of music history as Vigon and Nahas open “The Art of Vinyl,” a gallery at Mainframe Studios in Des Moines highlighting careers of a combined 80-plus musical design projects. It’s the first time, Nahas said, that they’ve put this many albums on display in one setting. The show plans to through May 21. “Really, no one knows that we’re here,” she said. “We have a lot of fun things to take a look at.”

Shure is discontinuing its turntable cartridge range: In its heyday the company was producing around 28,000 cartridges a day. American audio company Shure is discontinuing all of its phono products this summer. Announcing the news via its website the company explained, “in recent years, the ability to maintain our exacting standards in the Phonograph Cartridge product category has been challenged, resulting in cost and delivery impacts that are inconsistent with the Shure brand promise.” Shure has been making pioneering cartridges since the 1940s including the first cartridge capable of playing both 33 and 78 rpm records, as well as design innovations such as the needle-tilt principle which minimises record wear, and the trackability engineering concept.

Vinyl collectors spent millions on Discogs last year: Record collectors spent more than $200m (£147m) at the online music marketplace Discogs last year, the BBC can reveal. The site, which helps collectors find and trade rare music, sold more than 10m records – up from 8.3m in 2016. Vinyl was the most popular format, with 7.9m sales – including a rare Beatles record that fetched $10,502 (£7,700). The 7-inch single was one of only 250 issued with Sir Paul McCartney’s name spelled incorrectly on the label as “Paul McArtney.” Discogs’ success reflects a revival in the music industry’s fortunes as well as the continuing consumer interest in vinyl. However, its figures are largely hidden from official music industry statistics, because they derive from private sellers trading second-hand records.

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Our Jazz Fest Picks
for Thursday, 5/3

PHOTO: EDDY GUTIERREZ | For years, everyone I know called Thursday at Jazz Fest “Slacker’s Day.” I thought it would stick. Now everyone calls it “Locals’ Day.” Fittingly, the powers that be are now offering two $50 dollar tickets for residents with a Louisiana ID. Here are our picks. The full Thursday schedule is here.

Alex McMurray has been booked early in the day virtually every time he has played at the Jazz Fest going back to the 1990s. His act is always a great way to start the day. Expect to see musicians like drummer Carlo Nuccio and saxophonist Joe Cabral supporting his wry songwriting and stellar guitar playing.

Though Belize isn’t often mentioned as part of the African diaspora, the Garifuna are a cultural group descended from runaway slaves who, like the Maroons in Jamaica, escaped and started their own communities. They retained many of the African influences that were erased elsewhere by forced assimilation. They are represented at Jazz Fest by Santiman and Garifuna Generation.

Big Chief Charles Taylor of the White Cloud Hunters is one of the legends still on the scene. I witnessed this in action hanging out with him at the downtown Super Sunday parade on Orleans Avenue. Every black Indian who walked past made a point of stopping to say hello and get his approval. He hits the Jazz and Heritage stage with his tribe at 1:55 PM.

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TVD Radar: Buffalo Springfield, What’s That Sound? The Complete Albums Collection vinyl box set in stores 6/29

VIA PRESS RELEASE | Before playing its final show on May 5, 1968, Buffalo Springfield released three studio albums on ATCO during an intense, two-year creative burst. Those albums – Buffalo Springfield, Buffalo Springfield Again, and Last Time Around – have been newly remastered from the original analog tapes under the auspices of Neil Young for the new boxed set: What’s That Sound? The Complete Albums Collection.

The set includes stereo mixes of all three albums, plus mono mixes for Buffalo Springfield and Buffalo Springfield Again, and will be available on June 29 from Rhino as a five-CD set for $39.98 and will also be on digital download and streaming services. On the same date, the albums will also be released – for the first time ever – on 180-gram vinyl as part of a limited-edition set of 5,000 copies for $114.98. The 5-LP box features the same mono and stereo mixes as the CD set, presented in sleeves and gatefolds that faithfully re-create the original releases.

Stephen Stills, Neil Young, Richie Furay, Bruce Palmer, and Dewey Martin played their first show together as Buffalo Springfield in 1966. The same year, the band recorded and released its self-titled debut, which included the iconic protest song, “For What It’s Worth,” featuring lyrics as poignant now as they were then, in addition to standouts like “Burned,” “Do I Have To Come Right Out And Say It,” and the band’s first single, “Nowadays Clancy Can’t Even Sing.”

The group spent the first half of 1967 making Buffalo Springfield Again, which was the first album to feature songs written by Furay (“A Child’s Claim To Fame.”) Stills and Young both contributed some all-time classics with “Bluebird” and “Rock And Roll Woman” from Stills, and “Mr. Soul” and “Expecting To Fly” from Young.

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Graded on a Curve: Stephen Stills,
Stephen Stills

Stephen Stills was one of the first rockers to be labelled a “superstar” on the basis of his stints in Buffalo Springfield and Crosby, Stills, Nash & Young, and in 1970 he got his chance to live up to the title with his 1970 solo debut Stephen Stills.

Superstar my ass.

Stephen Stills has its moments, and a few of them are thrilling indeed, thanks in large part to the playing and singing of such notable drop-ins as Eric Clapton, Jimi Hendrix, Ringo Starr, and just about every folk-rocker in Laurel Canyon. C. and N. (if not Y.) make cameos, as do Cass Elliott and John Sebastian. Hell, even Booker T. Jones shows up to say hi.

But the good times are relegated to side one, and what I take away from Stephen Stills isn’t the memory of good songs (I can only remember one of them, and that’s because I’ve heard it a million times) so much as good performances. As a songwriter, Stills just isn’t up to superstar scratch. The Village Voice’s Robert Christgau put his finger on the problem when he wrote, “[Stills] seems too damn skillful to put down. Yet there’s something terribly undefined about this record. Hmm–maybe it’s the songs.”

Perhaps you can adduce as much from the cover, which features Stills sitting next to a ceramic giraffe who looks paralyzed by boredom. I’ll bet you that giraffe has a soft spot for free-love anthem “Love the One You’re With,” but who doesn’t, what with its rumbling congas and steel drums and that very groovy organ. It’s the apotheosis of the easy-going sexual mores of 1970 California, and I’ve been known to play it just for laughs.

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The Best of TVD’s
Play Something Good with John Foster

The Vinyl District’s Play Something Good is a weekly radio show broadcast from Washington, DC.

Featuring a mix of songs from today to the 00s/90s/80s/70s/60s and giving you liberal doses of indie, psych, dub, post punk, americana, shoegaze, and a few genres we haven’t even thought up clever names for just yet. The only rule is that the music has to be good. Pretty simple.

Hosted by John Foster, world-renowned designer and author (and occasional record label A+R man), don’t be surprised to hear quick excursions and interviews on album packaging, food, books, and general nonsense about the music industry, as he gets you from Jamie xx to Liquid Liquid and from Courtney Barnett to The Replacements. The only thing you can be sure of is that he will never ever play Mac DeMarco. Never. Ever.

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Graded on a Curve: Eureka California, Roadrunners

Per website bio, the Athens, GA-based act Eureka California has been extant for roughly a decade. Unsurprisingly, changes have occurred along the way, most notably the lineup slimming down to a twosome as the sound’s gotten rawer and often faster. In a nutshell, it been a punkier experience, yet one that hasn’t sacrificed catchiness. Pop-punk? An ingredient, but not a limitation, and the scenario broadens on new album Roadrunners. Dishing 14 songs in 30 minutes, it extends their streak of quality, and it’s out on vinyl, compact disc, and digital May 4 through Happy Happy Birthday To Me.

Once something of a rarity, rock duos aren’t exactly as prevalent as springtime dandelions these days, but the pared-down approach no longer raises eyebrows. What’s striking about Eureka California is that having started out as Jake Ward’s “bedroom project” in Raleigh, NC in 2007, after a move to Athens the lineup once held five members.

Eureka California’s early recordings, including 2012’s full-length debut Big Cats Can Swim, documented a trio working approximately in lo-fi indie mode. It was a situation still tangible on ’14’s Crunch, as the sturdy pairing of Ward on guitar and vocals and Marie A. Uhler on drums (filling that role since the “Modern Times” 7-inch in 2011) made its debut and the pop-punk roots really began to show.

With ’16’s Versus, lo-fi exited the equation as the duo traveled to Leeds, UK to record at Suburban Home Studios (a facility run by Matthew Johnson of Hookworms). Additionally, the pop-inclined songwriting chops sharpened, but the execution, in a word highly caffeinated (thanks in large part to Uhler’s oft-blazing expressiveness at the kit), reinforced the merger of pop-punk (deepened by Ward’s emotive singing style) and ’90s indie rock (both stylistic components get nicely underlined by last year’s B-side cover of Superchunk’s “Slack Motherfucker”).

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In rotation: 5/2/18

Bruce Springsteen’s ‘Greatest Hits’ on Red Vinyl Leads Biggest Record Store Day Yet: 733,000 vinyl albums were sold, industry-wide, in the U.S. in the week ending April 26. Record Store Day once again powered historic sales numbers for vinyl albums and singles in the U.S., according to Nielsen Music. The 11th annual festivities, staged on April 21, helped yield a whopping 733,000 vinyl albums sold in the week ending April 26 — a record for Record Store Day week, and the third-largest weekly sum for vinyl albums since Nielsen Music began tracking sales in 1991. Further, of that sum, 580,000 vinyl albums were sold at independent retailers — the single largest week for the format at the retail sector in Nielsen Music history.

‘It’s a great shot in the arm’: Record Store Day 2018 album sales up by a third: Record Store Day 2018 saw album sales increase by 33% year-on-year, according to Official Charts Company data for April 21. Record Store Day organisers reported an overall increase in unit sales of 7% year-on-year as consumers moved towards album releases. It’s estimated that 60,000 LPs and 30,000 vinyl singles were sold. Based on OCC figures, the estimated value of vinyl sales was up 16% compared to last year’s Record Store Day. The majority of the 240-plus shops taking part reported sales increasing by between 10% and 20% year-on-year. “Finances wise, we were about 15% up on last year – a total which at the time we thought could not be surpassed,” said Jon Tolley of Banquet Records in Kingston.

Record Store Day hits new sales peak: David Bowie and Bruce Springsteen helped Record Store Day reach a new peak in 2018. Vinyl sales in the UK were up 16% year-on-year, according to the Official Charts Company, with 60,000 albums and 30,000 singles changing hands. It was the same in the US, where 733,000 vinyl albums were bought in the week ending 26 April, breaking a sales record for the format. David Bowie’s Welcome To The Blackout was among the most in-demand releases. The three-disc live album, recorded on the star’s Isolar II Tour in 1978, was a Record Store Day exclusive. Not only did it top the UK vinyl chart, but entered the official Top 40 at number 22. It was also the second best-seller in America, just behind a red vinyl edition of Bruce Springsteen’s Greatest Hits.

Are there negative effects of Record Store Day? Now that you asked… Indie bands rely on vinyl releases to make a living in an era when streaming can literally pay one penny per thousand or more listens. The records make real money for the bands and especially for those selling them on tour. The irony is that these bands may be a victim of the success of RSD, as major labels are are booking the few vinyl pressing plants left months in advance in order to have stock available on RSD. Newer pressing plants are slowly coming online, but at present the demand for vinyl outstrips the supply, in part due to the success of RSD in reminding consumers that records can be a quality medium.

Nyack Sketch Log: Main Street Beat: While the name of Nyack’s only record shop has changed, the staff, stylings and singer/songwriter owners remain the same. Amy Bezunartea and Jennifer O’Connor announced this weekend that their store will no longer share the name of their record label, Kiam. Main Street Beat is now emblazoned on the door where music fans can find new releases from the indy label, previously owned classic vinyl records and an eclectic offering of books and clothing, curated by Amy. Main Street Beat has become a fixture in the cultural life of a village where creatives have lived and worked for decades.

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TVD Live: Jazz Fest,
The First Weekend,
4/27–4/29

PHOTOS: EDDY GUTIERREZ | The weather could not have been better as the New Orleans Jazz and Heritage Festival presented its 49th edition at the New Orleans Fairgrounds in the heart of the Gentilly neighborhood. Clear skies, mild temperatures, and low humidity greeted festers all three days of the first weekend.

It’s a truism of Jazz Fest that the days get more crowded as the hours progress from the 11 AM opening. This year was no exception as fans streamed in to see Rod Stewart, Jimmy Buffet, David Byrne, and the other headliners.

Since Jazz Fest has something for fans of almost every musical genre, classical and heavy metal/punk being the main exceptions, there is so much music that no single person could even attempt to catch even a small bit of every act. Here are some of my highlights.

David Byrne (pictured above) brought one of the most unusual, interesting, and musical bands to the fest. He had no stage set to speak of—there was nothing on the stage save a bench and a chair that appeared and disappeared as if by slight of hand. All of his musicians wore their instruments and roved around the stage in choreographed routines making the show as much a theatrical performance as a musical one.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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