Monthly Archives: September 2019

Eddie Money,
The TVD Interview

Today we remember Eddie Money who passed away last Friday, September 13, 2019 with a 2018 conversation from our archives.
Ed.

Add Eddie Money to the long list of rockers, from Ozzy Osbourne to Bret Michaels and Joe Jonas, to open their homes to reality TV crews. His new series Real Money, premiering April 8 on AXS TV—already home to Rock & Roll Road Trip with Sammy Hagar—chronicles life with his grown kids, who are also members of his backing band when he tours.

Money, at 68, is still getting mileage out of a string of hits in the 1970s and 1980s. He talked about the origins of hits like “Baby Hold On,” and “Two Tickets to Paradise” in a recent interview from Malibu. A long time Californian, he still retains his Brooklyn roots—mostly through a string of Rodney Dangerfield-like jokes that have been largely excised here for space and sanity.

“I’m sorry I sniffed all that airplane glue, I’m trying to give you good interview,” he began, before a conversation that told of his early days, a legal threat from Doris Day, touring with the Stones, and angering Sting.

Along the way, he took credit for everything from bringing Ronnie Spector back to show business, to being the first rocker to play the daytime TV circuit and the first guy to spray festival crowds with water. And he had a few choice words about Elvis Costello and Lou Gramm.

He concluded by declaring “I lied my way to the top!” in the manner of another ambitious borough-native, so baby hold on to that grain of salt.

Now you’re a reality TV star.

I gotta tell you, I’m very excited about the TV show. For some reason, it came out good, it’s funny, the kids are good. We’ll keep our fingers crossed. If we get a second season, it’d be good.

How many episodes have you done?

Ten. We shot a lot of it at the house until the neighbors got pissed off. So we shot it all over the place, in certain clubs and out on the road. They had me horseback riding, which is horrible. Hated that. And then they had me playing golf, and I play golf like Stevie Wonder at night, so I don’t know what good that episode was.

Do you think the series is going to bring new people to your shows?

I’ve got enough people out in my audience. I’ve got a lot of kids who grew up with their parents putting me in the tape deck. All these kids grew up listening to “Baby Hold On” and “Take Me Home Tonight.”

I get people at the shows who are in their early 20s, I got parents coming to the shows. We do have a pretty large following. You gotta remember, I was putting records out in 1976, I’ve got people listening to me who are in their 70s right now that still come to the Eddie Money show. Sometimes I have people asking the promoters if they have a wheelchair rack.

How many dates do you do a year now?

I’ve got five kids, so I’ll do anything to get out of the house. What I do is I try to work every weekend if I can, because I like to get Dez out there. I want to promote Dez’s music, and I’m not just saying this because he’s my kid, but he’s a great songwriter. He doesn’t sound like me, but the songwriting quality I think he’s a chip off the old block.

It’s a brave thing to do one of these shows and show everybody your family life.

Well, the kids—nobody’s got DUIs, nobody’s doing drugs or anything else like that. I feel fortunate enough, and of course all the kids are still living at home. But that doesn’t bother me either. I like having the kids living at home because I can keep an eye on them.

I’d rather have them in front of me, rather than being in someone’s car, or somebody else’s house until 4 in the morning. This way, I know when they’re going to bed, when they’re getting up, and somebody’s going to have to take out the garbage and do the dishes. I’m very happy.

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Needle Drop: Dudley Benson, “We Could’ve Been Gods”

New Zealand avant-pop artist Dudley Benson weaves beautiful electronic soundscapes, effortlessly marrying challenging yet uplifting sonics, with deeply personal lyrical themes.

Exploring concepts of nationhood, decolonisation, and our relationship with nature, “We Could’ve Been Gods” is the latest cut from his ambitious new album Zealandia. Featuring a full symphony orchestra, 50-person choir, and beats made from samples of rocks and minerals, Dudley defies genre by combining alt-pop, choral, classical, and electronica, producing a record that is as unique as it is captivating.

Shot by Miranda Bellamy and Solomon Mortimer, “We Could’ve Been Gods” is a semi-improvised pulse of love, sex, and earth that reflects and bounces off the song, and the three filming locations around Auckland, New Zealand.

Collaborating with respected avant-garde dance artists val smith and Tru Paraha, “We Could’ve Been Gods” is the centrepiece of a an album that tackles hard-hitting themes surrounding New Zealand culture, history, and identities.

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Graded on a Curve:
Jack Kerouac,
Poetry for the Beat Generation

Jack Kerouac changed my life. I read On the Road and just like that I went from being this adolescent CYO nerd with no goals or dreams to a cut-rate beatnik wannabe who drank Tokay wine and sought out angel-headed hipsters and gone beat characters in the pool halls and greasy diners of nearby Gettysburg and Taneytown, drove like I had a death wish in imitation of Dean Moriarty, and hopped a moving 2 a.m. freight train and rode in an open coal car the whole way to Harrisburg.

It was all a ridiculous fantasy, I know; there were no angel-headed hipsters or beat characters to be found in the pool halls and diners of Gettysburg and Taneytown, and one late night train ride hardly made me the second coming of Sal Paradise. But Kerouac did more for me than just turn me into a poseur; he fired my imagination and turned me on to literature, and fueled my desire to escape my one-horse town and have big wild adventures in the American night. He even made me think that, who knew, one day maybe I’d even write a meaningful sentence or two.

Kerouac has similarly inspired innumerable other kids, which is why all of those detractors who mocked him when On the Road came out in 1957 were 100 percent wrong. It’s hard to fathom, today, the savaging he received from a clueless press. If Time was content to ridicule him as “a latrine laureate of Hobohemia,” other, more hysterical voices, sniffing the downfall of Western civilization in his descriptions of junkies, small time criminals, and (gak!) “negroes,” proclaimed him the spearhead of a nihilistic and violent death cult.

Why, you’d have thought he was the Sex Pistols. Norman Podhertz seemed to think murder was the theme of Kerouac’s writing. And an obviously deranged writer for The San Francisco Examiner went so far as to submit that Kerouac’s “degenerate” followers were prone to feeding strangers hamburgers laced with ground glass. And, with a few notable exceptions, the literary establishment was no more charitable; Truman Capote, for one, famously dismissed Kerouac’s work with the words, “That’s not writing, that’s typing.”

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In rotation: 9/16/19

Kelowna, BC | Milkcrate Records to close at the end of the month: The venue and record shop has presented close to 400 shows over its eight years in Kelowna. Vinyl lovers and show-goers in Kelowna are going to be losing a staple destination come the end of the month. Milkcrate Records, a local record shop and music venue, is planning to shut its doors for good on Sept. 28. In their Sept. 13 newsletter, the shop announced it had been evicted from its current location and the search for a new space was unsuccessful. “Thank you to all the artists, poets, authors, filmmakers, musicians, singers and bands who enriched our lives with their music, talent, passion and artistry,” said owner Richard Rafton. “Thank you to all the arts and music and spoken word fans who came and cheered and clapped and shared the love. For us it always was and always shall be about the music. We’re very proud to have presented close to 400 shows over eight years at Milkcrate, featuring over 1000 artists.” He closed the letter by adding, “as Greg Keelor (Blue Rodeo) closes out their shows: ‘we’ll see you all further on down the road.’”

Birmingham, UK | hmv to open Europe’s largest music and entertainment store The hmv Vault in Birmingham: hmv are bouncing back with a new flagship branch. hmv have announced plans to open Europe’s largest music and entertainment store next month. The hmv Vault will commence business in Birmingham’s Dale End from mid-October in a 25,000sq ft. retail space, a clear sign that the retailer’s resurgence on the UK high street is going from strength-to-strength. hmv was rescued from administration by Canada’s Sunrise Records in February 2019. While 27 stores were initially set for closure, 14 were then saved from shutting their doors for good after deals were secured with landlords. The hmv Vault features a permanent stage area and PA sound system, with plans in place for in-store signings and performances every week. The new outlet promises to be a “dedicated vinyl paradise”, with particular appeal to specialist record collectors with a wider range of classical, jazz, folk, country, blues and world music titles available that in their other stores.

Vancouver, BC | Iconic record store the latest target for downtown Nanaimo thieves: Fascinating Rhythm in downtown Nanaimo had its front door smashed late Thursday night as thieves made away with several guitars. This is the second time in the past couple months that the business has been targeted. There was also an attempted break-in only two weeks ago. “I have never had a break-in since opening 30 years ago,” said Steven Lebitschnig, the owner of Fascinating Rhythm. “I’ve had two this year.” Thieves originally tried to grab poppy donations that were strapped down, but ended up going for guitars instead. Lebitschnig says his store is not the only one that has suffered from a break-and-enter theft in recent months. Nanaimo RCMP say they have seen an increase in theft from businesses in the downtown core, adding thieves seem to be targeting cash on site. “We are strangely recommending that people leave no cash on site,” said Const. Gary O’Brien. “And put up a sign indicating that.”

Calgary, CA | Prairie Records Tops the Charts: Named Top Cannabis Retailer in Canada at Grow UP: Westleaf Inc. is proud to announce its Prairie Records retail stores have been named top cannabis retailer in Canada at the GrowUP Conference & Expo. Singing a different tune in cannabis retail, the award win is a testament to how Prairie Records is offering Canadian’s a truly unprecedented purchasing experience. “It is extremely gratifying to have Prairie Records be recognized at one of the industry’s largest events and to be able to stand out amongst a field of very worthy retail competitors,” says Adam Coates, Chief Commercial Officer at Westleaf and Retail Brand Strategist for Prairie Records. “We set out to make waves in a sea of sameness by creating an immersive experience like no other in the marketplace, and we are pleased and honoured to receive this, the first Grow UP Conference retail award.” Ten companies were nominated in the Grow UP retail category at this year’s event, the first for the industry. Among the nominees were independent stores and well-known national chains. Prairie Records was recognized based on delivering an unparalleled consumer purchasing experience and creating a welcoming brand for cannabis consumers.

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TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

It’s Friday the 13th with a full moon on the rise—and I gotta say, I’m in a pretty celebratory mood. I’ve dug the fall in LA. The light at sunset is heavenly.

Tomorrow we’re throwing a party for my wife. It’s a special birthday, and I’m happy to report I think I got it all together. The spot, the cake, the card, the gift—and yeah man, the Sidels have the music! If you have the moon and the music on your side? Fuck it, just rock and have a party!

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TVD Live Shots: Pete Doherty and Carl Barat at Hackney Empire, 9/6

My quest to see The Libertines live in the UK since I moved here three years ago got a bit closer to completion. Earlier this year I saw a spectacular show from Pete Doherty and the Putra Madres, and now I can check Pete and Libertines frontman Carl Barât off the list.

It was billed as an acoustic gig, so I accepted the invite thinking two dudes, two guitars, one stripped-down acoustic set. I couldn’t have been more wrong. As part of an event series called SOMEWHERE, which is known for hosting a series of unusual shows around the world, somehow figured out how to light 1001 candles to illuminate the stage in one of the most beautiful venues in London, Hackney Empire.

Let me start by saying that I was there for the second night of two sold-out performances in what one would consider an “intimate” venue for the primary two Libertines. It’s also worth noting that you have to live in London to appreciate how much this town loves Mr. Doherty. From the infamous breakfast photo in Margate which would later become a full-on work of art as a mural, to just last week when the tabloids reported Pete on a Boris bike riding through central London with two huskies. There was one Tweet that captured this fascination with the musician perfectly, “It’s Pete Doherty’s world, we just live in it.”

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Miles Davis: Birth of the Cool screening set for the Zeitgeist Theatre, 9/16

World-renowned drummer Brian Blade and New York-based saxophonist Joel Frahm will join some of New Orleans’ finest musicians in a musical tribute to the legendary trumpeter Miles Davis on Monday night. A screening of the acclaimed new documentary, Miles Davis: Birth of the Cool will follow the performance. The evening at Zeitgeist Theatre begins at 6:30 PM.

The band also features trumpeter Ashlin Parker, pianist Matt Lemmler, bassist Nathan Lambertson and other guest artists. They will pay homage to the late great trumpeter’s music by bringing to life the atmosphere and mood that made his music so distinctive.

Miles Davis: Birth of the Cool is the latest effort from the award-winning Stanley Nelson who also directed The Black Panthers: Vanguard of the Revolution. HIs latest work has been receiving rave reviews since it was released in August.

The film explores why Davis continues to be a relevant voice in today’s world. It features archival photos and home movies shot by Davis and his colleagues as well as his manuscripts and original paintings. It also includes interviews with a who’s who of famous musicians including Herbie Hancock, Wayne Shorter, Ron Carter, Carlos Santana, members of The Roots, and Flea of the Red Hot Chili Peppers.

Zeitgeist Theatre is located at 6621 St. Claude Ave. in historic Arabi, Louisiana. Tickets are available here.

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Graded on a Curve: Daniel Johnston,
Fun

Today we remember Daniel Johnston who passed away on Wednesday, September 11, 2019 with this look back from our archives.Ed.

Of all the fine stuff scheduled to hit the racks last week for Black Friday, one item particularly stood out in large part due to its belated appearance on vinyl. In all the excitement and hubbub of the holiday festivities, it was easy to miss the last minute cancellation of this record, shifting the focus below from an appreciation of a long-delayed vinyl slight to a consideration of a release whose LP coronation continues to be denied. The subject is Fun, the sole major-label entry in the discography of Daniel Johnston, originally issued by Atlantic Records in 1994. Hopefully its eventual emergence on vinyl comes sooner rather than later.

While I won’t be so bold as to say there was no middle ground, the reaction to Daniel Johnston’s original home recordings did largely run to extremes. On one hand, there were those who championed a new and startlingly unique pop singer-songwriter. On the other were the strident doubters and the often exasperated reactions of folks who considered it all a big put on.

Johnston’s advocates largely felt that his crudely recorded homemade cassettes were just as legitimate and deserving of attention as anything being produced for mass consumption in the spacious multi-track studios of the big label machine. Many listeners not smitten with his considerable output identified it as another example of underground tastemakers locating a marginal artist and then lording it over those with enough sense to not buy into the hype.

As more people became acclimated to the uniqueness of Johnston’s work, either through the stumping of music journalists and critics, the name dropping of assorted clued-in musicians, and via his now legendary appearance on MTV’s The Cutting Edge Happy Hour, where he performed during his lunch break at McDonalds, it started to become clear to some of the previously doubtful that the passionate reaction of so many was indeed sincere, the music having struck a deep chord. A fair number of these agnostics listened again, and what had initially sounded strange shifted into something special.

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Needle Drop: Sirenety,
“Watch It Burn”

London-based singer-songwriter Sirenety backs her serene vocals with eerie ambience, imbuing her angelic electro pop with a slightly aggressive edge.

“Watch It Burn” is her fourth stand-alone single, each subsequent release revealing a more impassioned artist. This track picks up the mantle from Portishead and Mandalay, taking their deep sonic exploration even further into the darkness.

Sirenity is clearly a fan of Gothic themes and low slung production, but does a fantastic job pairing those elements with the candid and direct lyricism typical of British pop. “It wasn’t that long ago, you promised me the world,” she sings in a hauntingly empowered timber. “You don’t get to just walk away.”

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Graded on a Curve: England Dan and
John Ford Coley,
Nights Are Forever

It speaks volumes about my horrible and tortured existence that England Dan and John Ford Coley was the first musical act I ever saw live. Is that sad or what? I mean, let’s ignore for a moment the well-marinaded urinal cake that is their music–just take a glance at that cover! What with their sex predator lady ticklers and nausea-colored leisure suits, soft pop’s saddest-looking Mutt and Jeff act look like convicted pedophiles at a junior high prom, lurking in the shadow of the punch bowl for the chance to hand out free mustache rides.

That said, I actually liked their big hit single “I’d Really Love to See You Tonight” when it came out in 1976, and I still brighten up when I hear it in my local supermarket. The album it’s attached to, not so much–if nights are forever, so is this baby–listening to it, I fell prey to the awful conviction that dawn would never come.

Nights Are Forever is a little bit country, and a little bit something else, and suffice it to say the something else is something you don’t want in your ears. If I had to use a color to describe the music on Nights Are Forever, I’d direct you to England Dan’s leisure suit, which any clothier worth a toss would adjudge an off-shade of shit.

Perhaps I’m being too harsh. One might more charitably describe Nights Are Forever as bottom-shelf Yacht Rock, and blandly inoffensive enough if you’re only listening to it with that part of your mind usually reserved for listening to someone describe, in excruciating detail, their latest master cleanse. As one would expect, most of these songs are as sensitive as chafed balls, and, should you be dumb enough to pay close attention, almost as painful.

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In rotation: 9/13/19

Bridport, UK | Community group unsuccessful in saving Bridport Music from closure: Hopes to save a much-loved record store have been dashed. A community group of investors has been unsuccessful in its efforts to take over Bridport Music. It was announced last month that the shop faces closure, should a buyer not come forward, and a group of interested parties came forward with an interest in taking over the business as a community benefit society. Following an initial public meeting at The Ropemakers, a steering committee was formed. According to campaign co-ordinator Josef Davies-Coates, those who attended had experience in community fundraising, retail in the music market and business start-ups and finance. Following a number of meetings an offer was put forward to the owners but ‘regrettably’ it was not accepted, said Mr Davies-Coates. “In view of the shortness of the time period allowed for negotiations, it has not been possible to reach any resolution,” he said.

Ashby, UK | Retro vinyl records and CDs to be sold off and this is when: If you’re a lover of retro vinyl records, then you will want to put this date in your diary, as tens of thousands of records and CDs are to be sold off. More than 40,000 records and CDs are set to be sold at an auction at The Attic, in Ashby , after the independent music shop closed in August. The Attic was named the eight best independent music shop in the country during its four years in the market town. New and pre-owned vinyls and CDs will be for sale, with everything from 50s classics, Motown, 1980s pop and even death metal on offer. Valuer Stuart Hay said: “The auction is an absolute must for anyone who likes music. “There’s 40,000 new and pre-owned records including picture discs as well as 12ins and 7ins vinyl and there’s also CDs – six lots of 400-plus CDs each. “There’s every sort of music you can think of – 1950s, easy listening, 1980s pop, punk and death metal. “One of the lots features 37 Beatles LPs. There really is something for everyone.”

Chicago, IL | For First Time in 30 Years, Vinyl Records Being Made in Chicago: Andy Weber has always loved vinyl records. Listening to them “allows you to slow down, sit back and listen to a side for 30 minutes,” he says. “Then sit back with your record jacket just like it’s a fine book to read.” As a Chicago DJ at CHIRP Radio, Weber has heard a lot of frustration from artists in the local music scene when it comes to releasing their music on vinyl. “Friends in bands would say they aren’t going to do vinyl because of cost and because of six-month wait times, and horror stories of shipments showing up damaged and the record plants not taking responsibility for it,” he said. So Weber and some friends started their own record plant, the first in Chicago in about 30 years. Production at Smashed Plastic began in February, and they say 90% of their orders have been from Chicago bands and labels. Co-owner John Lombardo also owns a small label. He says it amazes him that vinyl works at all.

Vinyl Record Sales Surging In 2019: Sales of vinyl records continue to surge in 2019 and are likely to outsell CDs for the first time since 1986, according to the Recording Industry Association of America’s (RIAA) mid-year report. Vinyl records made $224.1 million on 8.6 million units in the first half of 2019, gaining ground on the $247.9 million on 18.6 million units brought in by CD sales. Vinyl sales have risen 12.9% in the first six months of 2019 while CD sales have been stagnant. If these numbers continue to hold, actual honest-to-gosh records will shortly be earning more money than compact discs. Paid subscriptions to streaming platforms like Spotify and Apple Music still account for 62% of industry revenue but vinyl is rapidly regaining its popularity as a listening format. It only makes up four percent of recording industry income but fans of the medium are finding vinyl albums to be a more connected and emotionally invested way of consuming music than online streaming. Records are sexy, intriguing, and exotic to those who missed them the last time around and deliver a tactile music experience not attainable via streaming. Also, vinyl has a warmer, clearer sound than streaming technology can produce, which makes listening to records a gourmet meal for your ears

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TVD Live Shots: K.Flay, Houses, and Your Smith at Fox Theatre, 9/7

With a new album fresh from the hopper, pop artist K.Flay brought her “Solutions Tour” to Oakland’s Fox Theatre for her largest hometown headliner to date.

Your Smith kicked off the evening with some guitar and electronic wizardry to back up her solo vocal performance followed by Houses from Chicago, who delivered a mellow set that lulled the Oakland crowd into a temporary state of calm.

But that calm was short-lived because promptly at 10PM, K.Flay and her band consisting of a drummer and a bassist, climbed on top of their Q*bert inspired stage and prepared to unleash. The band tore straight into “Not in California” from the new album as K.Flay stomped atop the massive riser which changed color from white to blue.

Clearly already fans of the new material, the crowd went nuts as they sang along. Good thing too, because they were going to get a lot of Solutions as the night progressed—the whole album, in fact.

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Shake It from The New Mastersounds in stores tomorrow, 9/13

The New Mastersounds, the funk and groove band from Leeds, England with a deep affection for New Orleans music, will release their latest recording, Shake It, on Friday, September 13. The album will be available on vinyl as well as other formats on producer and guitarist Eddie Roberts’ label Color Red.

The new record is a departure from their well-known focus on slinky instrumental grooves. Shake It features a singer, Lamar Williams Jr., the son of late Allman Brothers bassist Lamar Williams, on most of the cuts. Williams brings a powerful presence to his tunes and gives longtime listeners fascinating insights into the band’s perspective through the lyrics.

The band also enlists a horn section featuring Mike Olmos on trumpet, a regular guest who has already appeared on albums such as Renewable Energy and Made For Pleasure, and New Orleans’ own Jason Mingledorff on saxophone and flute. The horns add a lot to the proceedings through compelling solos and strong section work.

While the additional musicians including Williams, Jr. freshen up the band’s signature sound, The New Mastersounds don’t leave fans of the old school jazzy soul in the lurch. The production opens up plenty of space for Eddie Roberts’ sterling guitar work and the punchy organ playing of Joe Tatton.

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Ken Stringfellow: Touched on Tour

Typically half the creative engine of The Posies, Ken Stringfellow has both played with a number of other bands, including R.E.M., the reconstituted Big Star and the Minus 5. But he’s also found time to put out a few solo records over the years—one of which seemed destined to be buried in a day of national tragedy.

He’s back to play that album, the 2001 Touched, on a solo tour that kicks off September 12 in Nashville and includes a September 21 show marking the 25th anniversary of the Mercury Lounge in New York. We reached him in Europe just before he flew over.

Seems like you’ve got a lot of dates on this solo tour.

Yeah, it’s ambitious. Sixty shows, or something like that. It all started from one show, which has to do with my album Touched, which has the dubious release date of September 11, 2001. Waking up that day, I had bought a bottle of champagne to celebrate the release. My phone was ringing as I woke up, and a friend of mine was like, you probably need to turn on the television. I can’t really explain what’s happening right now. Of course, we all know how the day was. It completely torpedoed my plans. and my solo career was probably forever stunted by this. Of course, that’s not such a big deal—I’m still alive. Many people suffered far worse things on 9/11.

People didn’t really know what to do with themselves, which you probably recall, the first couple of days, they were just sort of processing it. A lot of people canceled their tours immediately. I remember that Nick Cave announced he was canceling his U.S. tour. People just didn’t know if it was safe or what was happening next. I decided to carry on. So as soon as planes started flying again, on Friday—9/11, you’ll recall was on a Tuesday—I got on a plane and went to New York and picked up my gear. New York was still burning basically. When I landed at Newark, you could still see smoke coming out of the crater.

The tour taught me a lot of things, and playing this particular record taught me a lot of things about this record. Suddenly it seemed like this record was a response to 9/11 in a lot of ways. There was a lot of feelings of grief and healing. It suddenly seemed very cosmic and appropriate being on tour at this time for people who needed some messages that not only encapsulated their grief, but also offered a little bit of caress as well. It was not a time for Limp Bizkit.

But anyway, I got an invitation from the Mercury Lounge in New York to play for their anniversary this year. And the Mercury Lounge is where I played on that tour, nine days after September 11. It was kind of an intense moment. It was probably the first moment where people could deal with a show, or anything emotional. People were way too raw. I had played a couple of shows, Boston and Hoboken and Philadelphia before New York, in between September 15 and 20 and people weren’t really ready. But getting to New York September 20, they needed something. So for people who were there, and it wasn’t a bad turn out—a lot of people who had tickets may not have shown up. But the people who were there, say 75-100 people, it was very intense that is burned into a lot of people’s brains. Because I’m connected in their minds to that week, in a good way.

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TVD Premiere: Chloé Caroline, “Forgive Me”

2019 may have been a bit of a nightmare year for us so far, but one great thing to come out of it is the rise in mental health awareness, especially within music. So many artists have been incredibly open in their songwriting, encouraging people from all walks us life to open up. Californian native Chloé Caroline is one of these artists and we’re incredibly pleased to be premiering her new single “Forgive Me” on The Vinyl District today.

It’s happened to all of us, some days you just wake up feeling rubbish and you can’t shake that feeling of anxiety. It’s completely normal to feel this way and talking about it is incredibly important, not just for yourself, but for loved ones around you to understand and accept. Chloé evokes this beautifully in her latest ballad “Forgive Me,” a song that shines the light on mental health struggles, perfectionism, and societal expectations.

Not only is the narrative incredibly imperative, it’s also stunningly written. Chloé’s powerfully distinctive vocals, reminiscent of Taylor Swift and Sheryl Crow, ooze emotion as they soar over the warm, piano-led melodies. If you’re looking for a pick-me-up, or even a bit of a cry, “Forgive Me” is the song for you. Chloé has hit the nail on the head here in so many ways and we can’t wait to see what she gets up to next.

“Forgive Me” arrives in stores on 13th September 2019 via AWAL.

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