Monthly Archives: July 2018

In rotation: 7/18/18

Shreveport, LA | Remembering Stan “The Record Man” Lewis: A Shreveport music pioneer dies over the weekend. Now he’s being remembered by those who knew him best as helping discover the sound of an entire generation. “A man that loved what he did and that’s why he was Stan the Man…the Record Man. Seriously.” Lenny Lewis is remembering his father, Stan “The Record Man” Lewis, a musical pioneer and international music industry exec. “A man that loved something, that never got out of his system. Loved the music industry. He loved it.” Stan and his wife Pauline opened his music store in Shreveport, but it eventually grew into so much more. Garland Jones say, “Most people for the most part only knew about the store, the retail store. They didn’t know behind that store, there was probably 200 people working behind the scenes as one of the largest record distributors in the country.” Stan’s business eventually expanded to six stores.

Shreveport, LA | Shreveport music legend Stan ‘The Record Man’ Lewis dies, age 91: Stan Lewis — known in Shreveport as “The Record Man” — has died. He was 91. Lewis died Saturday morning in Ruston where he lived for the past several months, according to his son, Lenny Lewis. Visitation will be 5-7 p.m. Wednesday, July 18 at Roseneath Funeral home, 1815 Marshall St. in Shreveport. The public visitation will be followed by readings from a priest and speakers from 7-8 p.m. In the 1940’s, Lewis, a Shreveport native, was a music distributor and retailer as the owner of Stan’s Record Shops. He eventually operated a nationwide mail-order and distributor service and record label. “He was definitely ‘Stan The Record Man,'” Lenny Lewis said of his father. “He ate and breathed music.”

Nashville, TN | Third Man Records announces Nashville photo studio: Third Man Records is pleased to announce the addition of a photo studio to their Nashville location. The newly opened Third Man Photo Studio specializes in high-quality photographic film development and analog print processing using the darkroom hidden in the walls of the famed Blue Room. Third Man’s photo chemists hand process C-41 (Color Negative), Black & White, and E-6 (Color Positive/Slide) films, and they use traditional photographic enlargement techniques to create one-of-a-kind archival quality prints from film negatives. This is a hands-on, all analog process, which yields the highest quality photographic prints possible: completely free of pixels and ink.

Boston, MA | The world’s best record shops #115: In Your Ear, Boston: Found a stones throw from the snaking Charles River that flows through the city of Boston, one of America’s oldest, and arguably its most boisterous, cities, In Your Ear boasts a musical heritage that stretches back for decades. 36 years to be exact, first opening its doors in 1982 and now owned by Reed Lappin, Mark Henderson and Chris Zingg. “We are all music lovers, we have no other skills,” laughs Lappin, but what skills they do have they channel into their 100,000+ strong record collection that climb the walls and takes over every conceivable space in this humble store. Their racks span everything from classic rock and weirdo jazz to euphoric disco, rare boogie from a bygone era and Detroit techno, making In Your Ear a quintessential slice of Americana.

Mapping Record Stores: New York City in the 1970s and 1980s: Between the early 1960s and the mid 1990s, the independent record store was a mainstay in New York culture, providing a space for music fans, critics, and creators to congregate and share the burgeoning rock and roll, disco, dance, and new wave scenes. A basic understanding of economics and technological change, however, can explain the sharp decline in the world’s record stores since the 1990s. Besides the shift to digital consumption of music, New York has become one of the most expensive cities for commercial renters, leading to the loss not only of its shops, but the sense of community they once provided.

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Theryl “Houseman” DeClouet, 1951–2018

Theryl “Houseman” DeClouet, the soulful New Orleans singer and occasional actor who was best known for his role as featured vocalist in the early days of the funk band Galactic, passed away on Sunday, July 15 at 66. He had been ill for some time and was in hospice care.

DeClouet was a singer with an emotion-laden, wide-ranging voice that could swoop to the heights like his mentor Johnny Adams, but was often likely to dig to the depths bringing out the socially conscious pathos in his original songs like “Ain’t No Yachts in the Ghetto” and “Pocket Change,” and covers like Marvin Gaye’s “What’s Goin’ On” or Edwin Starr’s soul classic “War (What is it Good For?).”

In the 1980s he was a perennial performer at the New Orleans Jazz and Heritage Festival and appeared around town with bands like the Lyrics, the a capella band Hollygrove, and his R&B outfit, Theryl and Reel Life. By the early 1990s, he was also gigging with the percussionist Mike Ward and his band, Reward.

His association with Galactic began when the band was in its infancy and had yet to solidify into its longtime lineup of bassist Robert Mercurio, guitarist Jeff Raines, drummer Stanton Moore, keyboardist Rich Vogel, and saxophonist Ben Ellman. Members of the band have issued statements via Facebook attesting to DeClouet’s critical role as mentor and early vocalist for the group.

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Graded on a Curve: Killdozer and Alice Donut, Michael Gerald’s Party Machine Presents!

Sound reads from the archives, all summer long.Ed.

Killdozer and Alice Donut: two bands for people with great taste that taste great together! Uniting to produce some of the greatest music ever! Talk about your coups! Why didn’t this baby win a Grammy? Because as Elvis Costello said, “Radio is in the hands of such a lot of fools/Trying to anesthetize the way that you feel.” That and both bands have about a 1,000 fans, each.

Madison, Wisconsin’s Killdozer (1983-96) was renowned for its macabre sense of humor—as expressed in the hilariously morbid lyrics of vocalist/bassist Michael Gerald—and gave us such immortal songs as “Hamburger Martyr” (man murders fry cook for making bad burger after saying, “I could make a better hamburger with my asshole!”) and castration ode “The Puppy” (“My old lady’s name is Lois/I love it when sucks my dink/When we set Sonny’s balls on fire/She didn’t even blink”). And then there’s their EP “Burl,” which they dedicated “to the loving memory” of Burl Ives when he was still among the living. As for their music, it was a monstrously loud and grating blues-based noise punk with savage guitars, a big distorted bass, and the unbelievably low-pitched vocal sneer of Gerald.

As for NYC’s Alice Donut (1987-95, 2001 to NOW), they are a freaky outfit that shares Killdozer’s humorously bleak view of existence but expresses it in a less, er, Wisconsin Death Trip kinda way. They focus on the perversities of existence, as is evident from the title of their 1989 LP, Bucketfulls of Sickness and Horror in an Otherwise Meaningless Life (whose two sides are called “Side Sickness” and “Side Horror”) and such great songs as (the quite pretty) “Tiny Ugly Life” and “The Son of a Disgruntled X-Postal Worker Reflects on His Life While Getting Stoned in the Parking Lot of a Winn-Dixie While Listening to Metallica.”

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TVD Radar: Steve Lukather’s memoir The Gospel According To Luke in bookstores 9/18

VIA PRESS RELEASE | To know Steve Lukather AKA: “Luke” is to love him, and readers of his upcoming memoir are about to get a no-holds barred uncensored look at Luke’s 40+ years of making records with his band TOTO along with the countless legendary sessions he’s been a part of.

Written by Luke along with acclaimed author Paul Rees, The Gospel According To Luke will be released worldwide on September 18th via Post Hill Press (North America) and Little Brown (UK). Luke will also be narrating the audiobook, which will be available via Audible. The book takes the reader behind the VIP curtain of rock and pop stardom recounting the vibrant and frequently lurid history of a vanquished golden age of the music business.

Few ensembles in the history of recorded music have individually or collectively left a larger imprint on pop culture than the members of TOTO. The band has sold over 40 million albums and have over half a billion streams worldwide as of 2018. They continue to be a worldwide arena draw staging standing-room-only events across the globe. They are pop culture, and are one of the few ’70s bands to have endured the changing trends and styles.

Running parallel to this, and as stellar session players, Lukather and band-mates David Paich, Jeff Porcaro, Steve Porcaro, David Hungate, and Mike Porcaro were also the creative linchpins on some of the most successful, influential and enduring records of all time, including Michael Jackson’s Thriller.

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TVD Video Premiere: Blair Jollands,
“I’ll Remember You”

Today we’re very pleased to be premiering the visually stunning video for New Zealand artist Blair Jollands’ latest single “I’ll Remember You.”

The video was filmed in the picturesque location of Buenos Aires and stars Blair himself, as well as model/actress Aleksandra Ana Spajic. The pair are seen wandering around the sunny streets looking as though they’ve come straight out of a fancy perfume advert and we love it. The song itself is a wonderful homage to songs of the ’40s and ’50s, sounding much akin to Elvis Presley, Roy Orbison, and maybe even a bit of Frank Sinatra thrown in for good measure.

Of the track, Blair elaborates, “The song was originally written for a movie I composed the soundtrack for called The Mad Axeman, which is about a man called Frank Mitchell who was connected to the Kray twins. I only wrote one verse and chorus for the movie as the scene was only one minute long, but later I decided to complete the song for my new album as I thought it deserved a proper chance.”

“I’ll Remember You” is taken from Jollands’ forthcoming album 7 Blood, in stores on 14th September 2018.

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UK Artist of the Week: Nova Twins

Having received acclaim from The Guardian, Clash, Afropunk and even Rage Against The Machine’s own Tom Morello, London duo Nova Twins have been wowing crowds across the world with their explosive live shows for a couple of years now. With support slots for Prophets of Rage, Willow Smith, Ho9909, and Die Antwoord already under their belts, they’ve now blasted back into our ears with new single “Lose Your Head.”

Propelled by a dark intensity, “Lose Your Head” builds to an immense, frenzied climax as the gritty power of Amy Love’s vocals soar alongside Georgia South’s thrashing bass hooks. With this unique riotous energy and fierce spirit that has contributed to their ever-growing reputation as one of the most exciting live bands around, Nova Twins fuse elements of hip-hop, punk, and an eerie industrial force to create something truly spectacular.

Of the track, the duo explain, “Flipping punk rock on its head, ‘Lose Your Head’ is a rejection of off the peg opinions, a rallying cry and a celebration of difference, an invitation to walk your own path. We want to open people’s minds and invite them to the wild side.”

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Graded on a Curve: Nathan Salsburg,
Third

Louisville, KY’s Nathan Salsburg has no shortage of achievements, but as a musician he’s primarily known for collaborating with Bonnie “Prince” Billy and fellow guitarist James Elkington, recording and touring in the band of singer-songwriter Joan Shelley, and for his own releases, the latest being the first to feature only acoustic guitar. Often, going truly solo details an artist with something to prove or at least intending to make a statement, but while Salsburg’s playing attains a high level early and then stays there, the emphasis is consistently on the beautiful while avoiding the florid or sedate. The contempo guitar renaissance carries on with Third, out July 20 on LP, CD, and digital from No Quarter.

If asked to categorize Nathan Salsburg’s new one, I’d call it an instrumental folk guitar album, which is no great feat of analysis on my part and might not seem like that big of a deal. Describing it as merely folk is perhaps limiting, but it gets to Salsburg’s knowledge and deft integration of tradition and geographical styles; since 2000 he’s worked as part of the Alan Lomax Archive and is currently its curator.

However, even as the animal paintings on Third’s cover suggest the rustic, the LP doesn’t register as a plunge into or expansion of well-established root forms, as throughout he’s closer to Bert Jansch in non-vocal mode than to the American Primitive or anything consciously old-timey. Opener “Timoney’s” does possess an Irish feel, in no small part due to the inspiration of “Timoney’s Ass,” a short story by the noted Irish writer Liam O’Flaherty.

As on his prior releases, “Timoney’s” makes abundantly clear that Salsburg is a master of his instrument, and yet there’s no flash for the sake of it, and likewise, the air of Ireland takes firm hold without getting laid on too thick, which is frankly a hinderance with a lot of neo-Irish stuff. Although the stated influence of UK folk-revival guitarists, amongst them Dick Gaughan and Paul Brady, is a recurring element in the disc’s scheme, foremost is the strength of the songs, with all but two of the ten Salsburg originals.

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In rotation: 7/17/18

Vinyl records make a comeback in Chile: A Chilean company is busy bringing vinyl records back to life after they disappeared from this South American country more than 35 years ago. The vinyl record had been a mainstay in this country since 1951 when it made its debut as the great sound invention of modern times in the form of the “LP” or long play record. But vinyl factories ended up being dismantled in 1983, after succumbing to the arrival of the cassette. Since the late 1980s not a single label was interested or even dared to once again manufacture vinyl records in Chile. And like in many other places, vinyl became more of a collector’s item than a go-to choice for music. However, a small group of young people clung tight to this form of musical reproduction…

Vinyl Sales Have Grown 66.6% In Canada This Year Alone — Among Other Huge Gains: When it comes to the music consumption habits of Canada, some interesting trends have emerged during the first half of 2018. In particular, vinyl records enjoyed a surge of 66.6 percent, according to Nielsen’s mid-year report. In 2017, there were 300,000 vinyl LPs sold, but that number jumped to 400,000 vinyl LPs in 2018. Just last week, we reported that sales of vinyl records were up 19.2 percent for the first half of the year in the United States. It’s speculated that as customers look for a “tangible product” instead of CDs, that records are filling that void. And as that demand continues, upgraded vinyl solutions like HD Vinyl are likely to blossom.

‘It’s an antidote to streaming culture’ – meet the people reconnecting with vinyl in Ireland: On Monday, Mark Whelan woke to a lovely message on Facebook. “It was the most intimate experience I think I’ve ever had listening to an album – it truly blew me away.” The note was sent from someone who had been at a vinyl-listening party organised by Whelan and held in Dublin’s Liquor Rooms the night before. The album in question was Pink Floyd’s 1973 classic, The Dark Side of the Moon, and Whelan says a number of people there – the vast majority of them Floyd obsessives – told him afterwards they had heard sonic detail on the album that they hadn’t encountered before.

Hallmark Pacts With WMG To Offer Cards Packaged With Vinyl 45s: This summer, Hallmark is expanding its collection of Vinyl Record Cards with birthday cards featuring songs from Warner Music Group (WMG) artists such as Tina Turner and The Cars. Each card includes a 7-inch vinyl record with two songs from each artist built into a sleeve on the card’s cover. Available in card shops and online at Hallmark.com and Amazon.com, the first in the co-venture program started Valentine’s Day when three were issued featuring songs from Atlantic Records artists Bruno Mars, Aretha Franklin and INXS. The century-old Hallmark Cards company is headquartered in Kansas City, Missouri, employing more than 28,000 worldwide and with revenues of about $4 billion annually.

There’s Still One Blockbuster Store Left In the United States: In 2004, Blockbuster had more than 9,000 stores. Now, that number is down to 1. ‘Blockbuster video stores have been officially closing around the country’ sounds like 2003 headline. But in the intervening 15 years, a few have been hanging tough. Now as two stores close in Alaska, just one store is left standing. That store resides in Bend, Oregon, giving customers one chance to step inside the iconic video rental store before it too closes down for good…Incidentally, physical record retailers appeared doomed to a similar fate. But a resurgence in vinyl, as well as nostalgia for the record store vibe, helped to keep a lot of record shops alive. No such luck for video rental stores, who never enjoyed nostalgia for VCR tapes of DVDs.

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TVD Live Shots: This Will Destroy You at the Electric Ballroom, 7/6

I’ve never been a big fan of solely instrumental songs or instrumental bands for that matter. Music without lyrics always made me think of movie soundtracks or classical music, two things I wasn’t into at all.

But there was a problem for me as a music lover. As a writer in my day job, I find it nearly impossible to write while listening to songs with lyrics. I needed to find something inspiring and not distracting. I needed to find a band that could create something that could be the soundtrack to my life, representing ups and downs, triumph and tragedy, anger and frustration, while tying it all together with the essence of cool and a touch of mystique. Enter San Marco, Texas band This Will Destroy You and their self-titled 2008 release.

Often compared to Explosions in the Sky, which was recommended by several of my friends over the years which still haven’t dove into yet, this quartet burst onto the scene in the early 2000s and quickly gained notoriety among the most prestigious critics. Their sound has been called “near perfect,” their overall tone referred to as, “it doesn’t get much better,” and one critic, in particular, claimed their debut to be “an astonishingly beautiful work that promises a bright future,” priming the record for many best-of lists that year.

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TVD Radar: Ryuichi Sakamoto: Coda begins theatrical run; National screening dates announced for summer

VIA PRESS RELEASE | One of the most important artists of our era, Ryuichi Sakamoto has had a prolific career spanning over four decades, from techno-pop stardom to Oscar-winning film composer. The evolution of his music has coincided with his life journeys. Following Fukushima, Sakamoto became an iconic figure in Japan’s social movement against nuclear power. As Sakamoto returns to music following cancer, his haunting awareness of life crisis leads to the resounding new masterpiece that would ultimately become the acclaimed album async. Ryuichi Sakamoto: Coda is an intimate portrait of both the artist and the man.

“I wanted this film to explore how Ryuichi Sakamoto’s awareness of environmental, social and even his personal crises brought change to his musical expression,” explains director Stephen Nomura Schible. “I had the title Coda in mind since the very beginning, as I wanted the film to land with a musical ending—with the birth of a new song. My hope is that those who journey with this film may find it to be like an opening of perception, allowing for a chance to imagine how Ryuichi Sakamoto hears the world, and to witness how he ultimately triumphs to find new musical expression in the end.”

Ryuichi Sakamoto: Coda, named a “Critic’s Pick” by the New York Times, had its theatrical premiere in New York last weekend at the Film Society of Lincoln Center, grossing the highest opening weekend per-screen average for a foreign-language documentary in over a year. The film will open in Los Angeles and other markets, before expanding nationally throughout the summer. The film will premiere exclusively on MUBI this fall following the theatrical run.

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Ruby Rose Fox,
The TVD First Date

“I was an ’80s kid who was raised in a small insular Christian cult. My parents’ vinyl collection and the radio was one of my only portals into discovering what was really out there.”

“I spent a lot of time with about twelve records. Carol King’s Tapestry, the West Side Story soundtrack, Man of La Mancha, a Bill Cosby comedy album (I know), James Taylor, Debussy, Mozart, and Billy Joel. I loved them. I loved the way they felt and smelled and even more so that they were mine.

When I started making records it was really important that I always had vinyl available. I say that I don’t have a vinyl collection because I’m always pouring the money I have right back into the next record, but it’s probably because my mom threw away all my records when I went to summer camp and I just never got over it. I did just receive a killer Erykah Badu record from a very special person, so 2018 could be the year!

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Graded on a Curve:
Don McLean,
American Pie

Where were you the day the music died? I was living in rustic Littlestown, Pennsylvania, and at the tender age of 4 months I didn’t know Buddy Holly from a jar of pureed peas.

But that’s the amazing thing about Don McLean’s 1971 masterpiece “American Pie.” I can’t listen to it without feeling a sense of immense loss. McLean brings the November 1959 plane crash near Clear Lake, Iowa that took the lives of Holly, Richie Valens, and The Big Bopper and lays it at my door.

The music didn’t really die that day; had that been the case, Don McLean wouldn’t have had the material to write the moralistic social and musical allegory that is “American Pie.” Anyway, without further ado, here are some random thoughts on some words and music that spoke to an entire generation.

1. “American Pie” succeeds as a piece of narrative poetry. It’s not great narrative poetry like Gordon Lightfoot’s “The Wreck of the Edmund Fitzgerald,” mind you, but its’ encapsulates the years between 1959-1969 in order to anatomize two kinds of death; first, the death of first wave rock and roll in that frozen cornfield in Iowa, and second, the death of hippie innocence personified by the murder of Meredith Hunter at the hands of the Hell’s Angels at Altamont.

2. McLean kept mum about the meaning of his lyrics for decades. He told one interviewer, “They’re beyond analysis. They’re poetry.” When another interview asked what the song meant he replied, “It means I don’t ever have to work again if I don’t want to.”

3. Buddy Holly chartered that doomed Beechcraft 35 Bonanza because he wanted to catch up on his laundry. In short, he didn’t die in the name of rock’n’roll. He died in the name of clean underwear.

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In rotation: 7/16/18

The Music Industry At 2018’s Midpoint: Jack White Snags The Bestselling Vinyl: Vinyl has been steadily growing in popularity for years now, and while it still isn’t a major media format in the U.S. (at least not when compared to streams and sales of CDs and digital albums), the rate at which more Americans are choosing to buy wax is still impressive. Since the same point in time last year, vinyl sales have grown by over 19%, and that trend may continue for the coming years, as it hasn’t slowed down yet. Pushing vinyl’s continued reemergence is a healthy mix of new titles and longstanding favorites which people in America can’t seem to get enough of.

Newcastle, UK | Newcastle record shop hopes to host music and comedy gigs in store. Beyond sells a range of vinyl records and CDs from at its shop on Westgate Road. A vinyl record shop in Newcastle is planning to host live music and comedy gigs to turn itself into a hub for the city’s music lovers. Beyond opened its doors on Westgate Road in March but is already planning to expand to give music fans somewhere they can meet up and discuss their favourite tracks. The shop is run by David McGovern, who has worked in record stores since 1996. After feeling that music shops no longer provided places for the local community to hang out, he decided to open his own store. Commenting on how he intends to make his business different from other shops, Mr McGovern said: “It’s about making it more about the customer and having a chat with them when they come in. We make it a bit more personal…”

Peoria, IL | Storm destroys thousands of albums at Peoria music store: When it comes to music in Peoria, particularly of the recorded variety, few can match devotion like Craig Moore. The septuagenarian rock-music performer might be best known around town as owner of Younger than Yesterday, a Central Peoria store jammed with tens of thousands of albums and ancillary artifacts. Looking for a copy of “Trout Mask Replica” by Captain Beefheart and his Magic Band? There’s a good chance Moore’s store has it. Unfortunately for Moore, more than 4,000 of his albums were destroyed recently. To quote a rock duo that fell from grace almost as quickly as it ascended, blame it on the rain. Or the monsoon, more accurately. “To end up in a situation where I have to Dumpsterize thousands of these records rubs me the wrong way…”

Friday The 13th Part V: A New Beginning soundtrack released on deluxe 2xLP: Henry Manfredini’s complete soundtrack for 1985 horror film Friday The 13th Part V: A New Beginning has been released on deluxe double vinyl, via Waxworks. During the course of his career Manfredini has composed scores for over 100 films, including the entire Friday The 13th film series. Friday The 13th: Original Motion Picture Soundtrack has been remastered for this new reissue on “Imposter Jason” clear blue vinyl, with artwork by Matt Ryan Tobin.

Sufjan Stevens’ The Avalanche Gets First Vinyl Release. The Illinois companion album pressed on colored vinyl: Sufjan Stevens has announced the first vinyl release of The Avalanche, his 2006 companion album to the previous year’s Illinois. The 2xLP set is pressed on “Hatchback Orange” and “Avalanche White” colored vinyl, and it’s due out August 31 via Asthmatic Kitty…In June, Sufjan was invited to join the Academy of Motion Picture Arts & Sciences’ music branch. Earlier this year, he performed his Call Me by Your Name track “Mystery of Love” at the Oscars ceremony. He also recently shared a reworked version of Moses Sumney’s “Make Out in My Car.” Plus, he appeared on a cover of Leonard Cohen’s “Memories” with the National’s Matt Berninger and more.

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TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

I dosed and became invisible / A compilation of my dreams / Exploded in my sleep / Now there’s nothing left of me

I can’t seem to remember more than one or two Idelic Hours that landed on a Friday the 13th. I like number 13. After all, I was born on the 13th of December, so I can relate. I don’t find the number eerie or superstitious, just cool. This said, I grew up on the 12th floor of an apartment building in New York City and above us was the 14th floor—New York’s a city with no 13th floors. Strange thought but, does a 13th floor exist anywhere?

It got me thinking about a playlist of songs that are an album’s track number 13. To be honest, it’s too fucking hot in my garage to deal with digging for long player favorites in search of 13s. Instead this set pays tribute to track 13s of the future. Maybe the question is, will track 13s even exist in the future or simply become invisible? With streaming and millennial short attention spans, will those “#13s” become as extinct as 13th floors themselves?

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TVD Live: Taylor Swift at FedExField, 7/10

PHOTOS: RICHIE DOWNSDespite the dizzying confluence of torches, fireworks, lights, immense video screens, dancing squads, light-up fan wristbands, and three-story snakes—so many snakes—in Taylor Swift’s big “Reputation” stadium tour, the best moment comes when she’s finally alone with the guitar.

It happens just over halfway in her two hour extravaganza when she’s on a B-stage, having been airlifted there by a light-up gondola while singing “Delicate.” It’s after the giddy heights of “Shake It Off” alongside tour openers Charli XCX and Camila Cabello (as well as another of those giant snakes) all while the fans’ wristband lights involuntarily blink Christmas colors.

Only then is she able to talk more to her fans as if they were old college buddies (“I’ve been thinking of you guys”). At the first of two sold out shows at Maryland’s FedEx Field for what she said was her 24th show in the area, she thanked fans for allowing her to go from teenage country sweetheart to high-volume pop music force. But she returned to her acoustic guitar roots all the same, with a spare version of “So It Goes…” from the new album and something from her Red album a half dozen years back that she hasn’t played for a while, “State of Grace.”

It was the rare moment of surprise and intimacy in a massive show whose every moment is plotted for maximum crowd convulsion. It’s audacious for a show this big to still largely be a vehicle to sell a new album, and playing 12 songs from Reputation (skipping only three of its tracks) meant squishing old favorites into medleys.

It was all fine with the audience of young girls, their indulgent parents, and a few guys, all excited for the big show and some decked out in a kind of Taylor cosplay, which ran from the troubling sight of grade schoolers in fishnets and lipstick to someone in full witch costume to one old guy in what looked to be an exploded newspaper.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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