She’s a woman of mystery: she goes by the moniker A Girl Called Eddy, but doesn’t mind if you call her Erin Moran; her last album came out in 2004, but then appears with a new project that is so fully realized and produced that you feel as though she hasn’t missed a beat; she’s from New Jersey, but the word on the street is that she’s living somewhere in England. The cover of her latest release—Been Around—features Moran, sunglasses on and coat collar popped, seemingly in a fast vehicle whisking her away to somewhere intriguing. Or, maybe she’s just trying to get by like the rest of us.
Been Around is an excellent album—with a great-sounding white vinyl release, as well. If you’re on the hunt for a sophisticated blending of theatrical composition coupled with hooks and earworms that will haunt you for days, then consider this interview your ticket to the show.
Join us as we chat with Erin Moran from her West Village safe house to discuss the production of her new album, her many musical influences and how—even if you become a sophisticated global jetsetter—when you’re from New Jersey, you’re always from New Jersey.
Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector and hi-fi aficionado. Toth hosts and produces The Sharp Notes each Saturday evening at 6pm and TVDRadar on Sundays at 5AM on WFDU, 89.1 FM. Follow him at the usual social media places and visit his website.
I’m here in the Jade Suite of Vancouver’s Pan Pacific Hotel, where Rush’s Geddy Lee has been conducting interviews to promote the 2020 40th Anniversary Edition of Permanent Waves. Geddy’s looking quite relaxed in his 2112-era white kimono, an Alexandrite pendant of the Egyptian God Ra around his neck. He’s sipping a cup of Da Hong Pao tea, attention riveted on some fishing show on what looks to be 900-inch television, and the first words he utters are, “Professional fishing. Who knew that was even a thing?” He pauses for a spoonful of Beluga caviar, then adds, “Fellow in the funny cap just pulled in a muskellunge. I’m no expert, but it looks to be a 59-pounder.” This is as good a place as any to begin the interview.
Do you fish?
Gave it a try once. Caught a walleye, and the damn thing attacked me. I meant to release him, but he had no intention of returning the favor.
You sound nothing like you do on stage. I might as well be talking to Barry White. How do you sing the way you do?
It’s quite simple, really. We toured with this gargantuan roadie whose only job it was to kick me in the balls before I went on stage.
Didn’t it hurt?
You can’t imagine. It was all I can do not to play the show doubled over in pain. I basically owe the man my career. But I had to let him go when he started nutting me as I was coming off stage as well. Overjealous, he was,
1980’s Permanent Waves marked a great departure from its predecessors. The songs are shorter, for instance.
They are, and I can tell you why. Someone handed me a copy of Never Mind the Bollocks, and I knew immediately this was the direction we needed to take.
So Permanent Waves was your punk rock statement.
Sure. We wanted the songs to be quick punches to the throat of uptight society. We originally intended to call the album Anarchy in the Great White North.
Spokane, WA | Twice-delayed Record Store Day(s) is still worth celebrating: Bryan Ostrow has mixed feelings about Record Store Day. As the co-founder of What’s Left – a political music zine, indie label and newly opened record shop in Colorado Springs, Colo. – he believes the annual “celebration of the culture of the independently owned record store” is becoming less about small stores and more about big record companies. And from a DIY musician’s perspective, he has seen the major labels flooding vinyl pressing plants with special releases while independent artists who just want to press a few hundred records are being left out in the cold. But Ostrow also is an enthusiastic vinyl collector with an undying devotion to punk, metal and hip-hop, so it is inevitable that several Record Store Day exclusives will find their way into his collection each year. “Collecting physical music is so important,” Ostrow said. “Listening to a full album the way it was meant to be played, pulling out the liner notes and reading along as you listen, it’s an important art that has been going away for a while now.”
San Mateo, CA | Longtime Redwood City business faces dilemma on whether to call it quits or reinvent: Gary Saxon has owned The Record Man in Redwood City for the last 35 years. Saxon’s business has served the local and online community with all forms of vinyl recordings, as well as CD’s and tapes. Music for Gary Saxon, known to locals as the Record Man, is like a religion. His first spiritual experience came when he listened to a record by the classic rock band, AC/DC, the sounds from the record inspiring him to throw his arms in the air like a congregation in prayer. “When I would go to church and I’d see people raise their arms, it looked weird to me because I didn’t feel that way. … [When listening to music] I thought that must be what people were feeling. That’s when you realize how deep these things go and I had an epiphany about people’s feelings towards god,” said Saxon. …“The idea is that hopefully I’ll have a couple more years here,” said Saxon. “If not, relocating in the Bay would be wonderful. … I’d love to relocate and keep it going. There’s been a renewed interest in vinyl that if you told me about years ago, I’d never believe it.”
Leicester, UK | Inside Shakup Records – new record shop being opened by city musician who played with Stevie Wonder: A new record shop is set to open this weekend (8/15) in Clarendon Park. Shakup Records is being launched by Leicester musician Nick Murphy, together with his two sons, who are also involved in the music industry. Based in Montague Road, the new business is described as “Leicester’s grooviest new vinyl store and music hub”. Shakup Records will hold a launch party on Saturday, August 15 – but we were invited in early, to bring you a sneak peek of the new city business. The shop will stock new and used vinyl ranging from funk and soul to hip-hop, jungle to punk rock, and everything else in between. There is also be a live room downstairs, where a wide range of music lessons will be provided, such as drumming, DJing (digital and vinyl), music production and recording. The space will also be used to showcase local talent on a bi-weekly basis. Nick has had a long career in music, which in 1984 included playing on a record, Feel It, with the legendary Stevie Wonder, when Nick was in the Leicester-based group Feelabeelia. He then fronted the band Ska-Boom and has played in bands ever since, before deciding to start this new chapter in his life.
Ft. Thomas, KY | People of NKY: Phil Breen has heard it all and he really prefers his old-school record store: …Phil had graduated from Dixie Heights High School in 1977 and quickly discovered that he had an uneasy relationship with the idea of college. He was in and out of it. A good break came when he was offered a job at Record Alley in Erlanger, a few months after it opened in 1979. He learned all of the ins and outs of running the business: inventory, ordering, payroll and in-store promotions. After a few years, he was ready to open his own record store. On Sept. 1, 1989, Phil’s Records opened its doors in Ft. Thomas. He had amassed a personal collection of over 3000 record albums, two thirds of which would be a big part of his opening inventory. Phil was ambitious and expanded to a second location in Ft. Mitchell the next year, and then, in 1991 he opened four more stores in an agreement with Sight In Sound, a chain of home audio/stereo equipment stores. …It is a great, old-school used record store. He gets the stuff. After having been in the record business for 41 years, he has a deep bench of customers, as buyers and also sellers. These relationships have helped him hang in there.
Everett, WA | Praise for an Everett record store merchant: I have known Gordy Arlin and he has been my friend since 1992. Not only is Gordy, owner of Bargain CDs, Records and Tapes in Everett, a walking encyclopedia of music, he has a heart that is bigger than the heavens. He is a very honest businessman who treasures each customer and treats them as if they were a friend. If a customer has requested a record or a song that is not in the system anymore, Gordy will stop at nothing to help find it even if he has to go to the ends of the Earth. If he finds it he will check out the record, CD, tape or 8-Track to make sure it plays well. If it does he will let you listen before you buy it. If he sells it to you he will say “This record should play well. If it doesn’t bring it back and I will do everything I can to fix or replace it.” He prays for the safety of each customer who leaves his store. God bless Gordy Arlin.
You’re heard enough / Of the blues and stuff / You’re pretty swell now / ‘Cause you’re pretty tough / But I don’t have to tell you / How hard it can be to get by
You never bothered / About anyone else / You’re well educated / With no common sense / But love, that’s one thing / You really need to get by
All your troubles / Come from yourself / Nobody hurts you / They don’t care / Just as long as you show them
I randomly heard this Roxy Music record a few days ago and it’s really stuck in my craw. In my quarantine quest to stay positive, I’m trying my best to have a good day. I started my morning listening to this quickly—my mix of ’70s glam and 2020—and hey, it’s not half bad.
VIA PRESS RELEASE | Nobody—no, nobody was gonna rain on Diana Ross and The Supremes’ parade. With new member Cindy Birdsong joining Miss Ross and Mary Wilson, the group released no fewer than five albums in 1968, all of which showcased their extraordinary versatility. One of those LPs was to be their only full-length tribute to a classic Broadway score—and what a tribute it was from three of Motown’s “greatest stars.”
Diana Ross & The SupremesSing and Perform Funny Girl featured the group’s dynamic renditions of Jule Styne and Bob Merrill’s showstoppers including “People,” “Don’t Rain on My Parade,” “I Am Woman,” “Sadie, Sadie,” and “The Music That Makes Me Dance.” Yet unbelievably, the album became The Supremes’ only album to never be released on CD anywhere in the world…until now. Real Gone Music and Second Disc Records are proud to debut Diana Ross & The SupremesSing and Perform Funny Girl: The Ultimate Edition, a deluxe 2-CD celebration of this Motown-meets-Broadway gem.
Greatly building upon the digital-only expanded edition issued in 2015, The Ultimate Edition boasts the original U.S. stereo mix, the rare U.K. mono mix (with an extended version of Diana’s tour de force “People” which composer Styne called “equal in every way to Streisand’s or anyone else’s”), the Supreme mixes reinstating Mary Wilson and Cindy Birdsong’s original vocals not heard in 1968, and bonus tracks including alternate versions of “Cornet Man,” “His Love Makes Me Beautiful,” and “Sadie, Sadie,” as well as live performances of “I’m the Greatest Star” and the Fanny Brice standard “My Man.”
Those with a casual interest in late-‘60s British folk-rock might be familiar with the name Shirley Collins. Others holding a deep love for this music have likely already made the plunge into her work, the best of it being recorded with the pipe organ playing of her sister Dolly. 1968’s The Power of the True Love Knot is a perfect place to get acquainted with the traditionally focused, yet contemporarily resonant splendor of Collins’ output.
Outside of Fairport Convention, Steeleye Span, and Scotland’s Incredible String Band, the British folk-rock boom never really gained all that much commercial traction in the United States. And while albums from those groups were pretty easy to find, particularly second-hand in US record stores for years, those acts didn’t really gain huge followings on US shores.
Included in that same scenario was Bert Jansch, both solo and in the group Pentangle, and the slow rise (and eventual explosion) of Nick Drake’s devoted following, but sadly the vast majority of additional Brit folk stuff made an even smaller impression. It took decades for names like Forest, Wizz Jones, and Trees to gather even a small non-native audience for their work, and too much prime material from that era remains seriously uncelebrated in relation to its substantial worthiness.
This circumstance extends to one of the finest singers in the entire movement, the exquisite Shirley Collins. Along with Sandy Denny and Maddy Prior (and to a lesser extent Anne Briggs and Bridget St. John), Collins brought a refreshing feminine depth to the Brit folk milieu. However, in contrast to Denny and Prior, the former a member of Fairport Convention (along with Fotheringay and an extremely useful solo career) and the latter the vocalist for Steeleye Span, Collins had an extensive background as a folk traditionalist, releasing her first recordings way back in 1959.
VIA PRESS RELEASE | Urban Legends, a division of UMe, Universal Music Group’s global catalog company, is continuing to spotlight one of the greatest artists of all-time, “The Godfather of Soul” James Brown, with the second installment of the animated mini-series Get Down, The Influence of James Brown.
On September 1, 2020 James Brown’s official YouTube Channel will unveil Funky President, episode two of the new three-part series, following the first episode, Funky Drummer, released on July 10th. Narrated by Questlove (The Roots, The Tonight Show Starring Jimmy Fallon), and featuring Lord Finesse and Co-founder/former EIC of Wax Poetics magazine, Andre Torres, the three-part series was created by UMe along with Dreambear and explores the sonic DNA of James Brown whose music is continually sampled and whose trademark vocal phrasing is deeply woven into the fabric of Hip-Hop.
This second episode explores the fascinating and unpredictable politics of James Brown while following the influence of his second most sampled track of all time, “Funky President (People It’s Bad).” Touching on the civil rights movement and Brown’s seminal “Say It Loud – I’m Black and I’m Proud,” Funky President shows how James Brown, as well as his musical peers and successors, has been able to encourage social change and raise political concern from a black American perspective.
The full episode of Funky President premieres on September 1, 2020 and can be viewed here with part three (The Payback) coming later this year.
Not too shabby for an album 300 years in the making. Okay, so it only took 17, but what a 17 years! We were sitting edge of our seats! Was Axl Rose ever going to release the long-anticipated Chinese Democracy? Or tinker with it until he faded into senility?
In 2008 we got our answer, by which time most of us had stopped caring whether Guns N’ Roses’Chinese Democracy was Axl’s Sistine Chapel or the hard rock equivalent of the Challenger disaster. As it turned out it was–for the most part anyway–the latter, but the LP with the 13 million dollar budget will stand forever as both an object lesson in artistic hubris and fruitless audience anticipation. As Spin magazine noted, “the only way the record could have lived up to its legend would have been to never come out at all.”
In the end Chinese Democracy suffered that worst of all judgments–mediocrity. Despite the millions of hours of dicking around in 15 studios, numerous producers and merry-go-round line-up shifts, for the most part Chinese Democracy inspired neither love nor loathing. It was mere and over-product at that. And the record shelves are awash in product.
My chief complaint with Chinese Democracy is not–as many complain–that Axl went mad amidst the newfangled studio equipment at his disposal–no Luddite, Rose made full use of every manner of 21st Century technology he could lay his hands on and good for him. My problem is most of the songs on Chinese Democracy suck like the synchronized honkers of Rose’s hometown, Lafayette, Indiana.
Grand Rapids, MI | Michigan’s oldest vinyl record store: …That love for vinyl is proven right here in Michigan by the state’s oldest, still-running record store, Gerry Dodd’s Record Shop in Grand Rapids. According to Rapid Growth Media, what is now known as “Dodds” actually was Cole’s Record Shop until Gerald Dodds purchased it in 1951 and for 30 years operated in various areas of West Michigan before settling in downtown Grand Rapids. For those who want to discover more vintage sights or establishments similar to this, they can head out to blogs like the lapeer county.
It is now under new ownership, has been reorganized and re-branded a bit by Reverend Charles Preston Smith who also turned the shop into a museum titled “Rev Charles’ Museum of Music and Memorabilia.” To make a long, beautiful story a bit shorter, Smith acquired the store after he made quite a lasting impression on Dodds and his family one record store day, so much so that when Dodds’ health was declining, they asked Smith to take over. “When the family contacted me they said, ‘Why is it you think you should have this?’” Smith recalled to Rapid Growth in 2014, “My only thought was there’s Amway, there’s Van Andel and there should be Dodds. So why can’t it be a museum?”
Madison, WI | Strictly Discs in Wisconsin, in a Pandemic: ‘We’re Only About 10% Down for the Year:’ Turns out the Madison record store has taken only a modest hit from the pandemic — but threats facing the U.S. postal service could be “debilitating.” In October 1988, Angie Roloff and her husband Ron opened Strictly Discs in Madison, Wisconsin, after Ron left a career in the biomedical research field to pursue his love of music full time. Nearly 31 years later, the couple made the difficult decision to shutter in-store operations due to COVID-19, roughly a week before Governor Tony Evers forced a mandatory shutdown of all non-essential businesses. Now that the Wisconsin Supreme Court has overturned Evers’ stay-at-home order — ruling it “unlawful” and “unenforceable” — the Roloffs and their employees have reopened Strictly Discs in a limited capacity. As part of Billboard’s efforts to best cover the coronavirus pandemic and its impacts on the music industry, we will be speaking with Roloff regularly` to chronicle her experience throughout the crisis.
Tokyo, JP | Tokyo record store Technique moves to a temporary new space: The Shibuya staple is downsizing due to the impacts of the pandemic and a shift towards online orders. Japanese record store Technique Tokyo is moving to a new location this month. The house and techno outlet is one of the country’s most reputable stores, having now been open for 25 years in Tokyo’s bustling Shibuya district. Citing a downturn in customers visiting the shop due to the pandemic, along with an increase in online orders, particularly from overseas, Technique will close its doors on August 13th and move to a smaller space nearby. The new storefront is located inside Shibuya shopping complex Parco. It will open on August 20th for a period of one year only. A statement was published in Japanese on the store’s website. Technique’s managing director Yoshiharu Sato spoke to RA back in March about the pandemic’s potential impacts on stores like his.
Madison, WI | Quarantine Tunes: Local record store owners share their playlists: We chatted with MadCity Music Exchange owner Dave Zero and B-Side Records owner Steve Manley about what they have been jamming to lately and the power of music in isolating times. Celebrate National Vinyl Record Day on Aug. 12 by masking up and stopping in, or check out MadCity’s and B-Side’s online shopping options.: What have been your go-to quarantine albums to listen to on vinyl? Dave Zero: At first I started with the “comfort food” albums … albums you already love that have been with you forever and make you feel good — Hüsker Dü, Cheap Trick, Public Enemy, X, Thin Lizzy and many more like that. Now that we’re a couple of months in, I’ve gone back to my usual absorption of new releases and discovering older titles. Lately it’s been a lot of The Saints, Swamp Dogg, Khruangbin, Waxahatchee, Bill Withers, Tanya Tucker, and Dwight Twilley Band.”
VIA PRESS RELEASE | On October 2nd, 2020, Demon Music Group will release Distortion: 1989-2019, a chronicle of the solo career of Bob Mould and his band Sugar.
This massive anthology compiles for the first time the entirety of Mould’s recorded work from 1989 onwards: 18 studio albums, plus four live albums and two albums of rarities and collaborations. Assembled with Bob Mould’s full involvement and featuring new sleeve notes from legendary UK music critic Keith Cameron plus exclusive new artwork, this is the definitive portrayal of an American rock icon. “It’s called Distortion because it describes the music and it fits the world we live in,” says Mould himself. “In this new age, everybody shares their life in real time. But I’m not done yet. If I didn’t have a constantly active career, this anthology might feel like the proverbial dirt landing on top of my coffin—though somehow I seem to be able to crawl my way out of the dirt every time!”
Today’s news comes accompanied by audio and video of Mould performing “Could You Be the One?”—a latter Hüsker Dü classic, drawn from the trio’s 1987 swansong Warehouse: Songs and Stories—at Washington D.C.‘s 9:30 Club in October 2005, in the process bringing it back to dynamic, electric life. It features on the CD anthology’s Distortion Plus: 1989-2019 rarities and collaborations discs alongside other highlights from the show.
Speaking of the show, Mould offers: “For years, I didn’t play Hüsker Dü material with my subsequent touring bands.” He continues: “This was the first time my longtime friend and colleague Jason Narducy (bass) played in my touring band. Rich Morel (keys) was my work partner for 11 years in BLOWOFF, and the 9:30 Club was home for our monthly dance party. Brendan Canty (drums) nudged me out of my self-imposed ‘rock retirement’ after the 1998 Last Dog and Pony Show tour (which is also chronicled in the box set). Brendan’s company Trixie Productions filmed and edited the show.”
VIA PRESS RELEASE | Richard and Linda Thompson’s early recordings together have attained an almost mythical status and their first three acclaimed Island Records classics will now be available again on vinyl from September 11 through UMe/Island. I Want To See The Bright Lights Tonight (1974), Hokey Pokey (1975) and Pour Down Like Silver (1975) have all been pressed on 180 gram vinyl. These seminal works, ground-breaking at the time, have influenced generations of artists and firmly established Richard and Linda Thompson as major figures on the British folk scene. Pre-order I Want To See The Bright Lights Tonight, Hokey Pokey and Pour Down Like Silver on vinyl, here.
Recorded in May 1973, but not released until 1974 due to an international oil shortage, I Want To See The Bright Lights Tonight is a dark and eclectic affair. Richard and Linda share vocals and many of the album’s 12 tracks would become firm fan favorites, including: “When I Get To The Border,” “Calvary Cross,” “We Sing Hallelujah” and “The End of The Rainbow,” “Down Where The Drunkards Roll,” “Has He Got A Friend For Me?,” “The Great Valerio” and the title track.
Now considered a classic album, it did little to trouble the charts on its original release but was very well received by the music press. Geoff Brown of Melody Maker proclaimed: “Richard Thompson is… the most accomplished guitarist in this land… He’s written some masterful songs, here and Linda, has performed them as perfectly as we’ve a right to expect.”
Richard and Linda’s second album Hokey Pokey, released in 1975, is a mixture of darkly comic songs like “Smiffy’s Glass Eye,” the more world-weary “I’ll Regret It All In The Morning” and “A Heart Needs A Home” and more sombre songs such as “The Egypt Room.” Richard always envisaged Hokey Pokey as “a music-hall influenced record.” He was a big fan of Harry Lauder and Gracie Fields, and this inspiration can be seen in the Victorian style cover by Shirt Sleeve Studio and is audible on the title track and also “Georgie On A Spree.”
“When I was a kid, vinyl records were so cool to me, not even as something to listen to but more of something to hold and revere.”
“I loved opening my parents’ records and looking at the rock ‘n’ roll photos and the different designs and artwork. I wanted to be those artists, so the vinyl record art and photos were this gateway for me to immerse my imagination into that rock ‘n’ roll fantasy.
My room was covered in liner notes and the fold-out artwork from various records. I had all the Pink Floyd vinyl fold-out art on my bedroom walls. Vinyl albums always had extensive liner notes where I could learn who the musicians were, discover producers, and see who played what on my favorite track. I still love reading them.
I don’t think I actually got into the sound of vinyl and its raw beauty until my later teens. I was playing in bands and we were getting more versed in old sounds. I started to really dive into sound and production and began to collect more old vinyl.
Part two of the TVD Record Store Club’s look at the new and reissued releases presently in stores for August, 2020. Part one is here.
NEW RELEASE PICKS:Sylvie Simmons,Blue on Blue (Compass) I was pretty taken with Sylvie, the 2014 debut from Simmons, who’s still probably best-known for writing biographies of Leonard Cohen, Serge Gainsbourg, and Neil Young. Sylvie was produced by Howe Gelb, who returns for Blue on Blue, the recording of which started in 2017 but was delayed by Simmons’ accident resulting in broken bones, nerve damage, and an unusable left hand. After surgeries, Simmons, who sings and plays ukulele, wrote some new songs. The resulting album is uniformly strong with a few highlights of magnificence. It’s important to repeat whenever praising Simmons that her wielding of the uke never once succumbs to preciousness (the Cohen influence is palpable, but nicely understated); instead, the instrument can remind me more of the harp, but less ornate, and that’s fantastic. Simmons’ singing is also a treat as the band playing with her is strong and the songs are excellent. A gem. One of 2020’s best, even. A
V/A, Imaginational Anthem Vol. X : Overseas Edition (Tompkins Square) I’ve never thought of physical formats and the purely digital experience as being an either/ or proposition, and my perspective has only deepened in our post-Covid 19 world. Along with the positivity that has resulted from assorted benefit releases, it’s a flat fact that for many artists, the main or indeed the only source of revenue right now (beyond government assistance) is their music; promptly offering new stuff at the moment generally means going the digital route, as pressing plants were already backed up prior to temporary pandemic shutdowns. The same goes for labels. Now, Tompkins Square already had a few digital-only items out before all this coronavirus madness commenced, but the majority of their discography has been on vinyl or compact disc (CD the norm for their superb line of box sets). However, over the last few months, most of the label’s titles have emerged without a physical option.
This means I was initially a tad disappointed upon learning the tenth installment in Tompkins Square’s series of post-American Primitive fingerstyle guitar compilations wasn’t coming out on LP or CD. But as the contents of Overseas Edition are so uniformly strong (and with recurring elements of distinctiveness, which is a consistent facet of the whole Imaginational Anthem thing), my letdown turned all the way around to deep appreciation that Josh Rosenthal (head of the label since the beginning) is persisting in getting the music out there. For this set, overseas essentially means Europe, with participants ranging from the UK to the western and central regions of the Continent including the Nordic countries and Czechia. This isn’t purely Guitar Soli, as there are a couple duos, namely Šimanský Niesner and Son of Buzzi, both from Switzerland, and it’s not even totally guitar, as Adaya (also from Switzerland) plays a nylon string Blue Moon banjo, but anybody passionate for the classic Takoma sound can rest easy that this is right up to snuff, as compiler Marcus Obst’s deft sequencing enhances the experience. A-
REISSUE/ARCHIVAL PICK: Duck Baker, Plymouth Rock : Unreleased & Rare Recordings, 1973-1979 (Tompkins Square) This collection is intended as an extension, or in Baker’s words from his most-excellent accompanying reminiscence, a companion piece to Tompkins Square’s 2018 Baker archival set, Les Blues Du Richmond, which I rated as one of the best of that year. Plymouth Rock hits the same levels of quality, opening with a medley of “Take Me Out to the Ballgame” (with the playing bringing Joseph Spence to mind) and “America the Beautiful” that’s elevated by a brief transitional tune-snippet so killer I just can’t spoil it. As outlined by Baker, due to the existence of later recorded versions, the tunes heard here weren’t chosen for Richmond. Now, if you’re a newbie, you might be thinking the contents are best suited for hardcore Baker fans, but that’s a rather severe misapprehension of the situation as it pertains to one of the finest guitarists the US of A ever produced. Hopefully, this’ll be on wax soon with Baker’s notes splashed across the back cover. A
UK | National Album Day to adopt ’80s theme for 2020 edition: National Album Day is adopting a 1980s theme for its third edition, set for Saturday, October 10. This year’s event will honour the artists and music genres of the influential decade in the first in a series of campaign themes that will be rolled out annually. Billy Ocean, Blossoms, La Roux, The Psychedelic Furs and Toyah Willcox have been announced as official ambassadors, with further names to be announced in due course. …ERA CEO Kim Bayley said: “The ’80s really had it all – glamour, fun and great music. After a horrible year of lockdown and bad news, National Album Day will be celebrated by digital services and retailers alike to give everyone a real lift.” Geoff Taylor, CEO of the BPI & BRIT Awards, added: “For many artists the album remains the ultimate expression of their creativity and the story they want to share. The ’80s were a hugely creative time – musically and across other aspects of our pop culture, and it will be fascinating to engage in this year’s National Album Day through the lens of the most influential decade in pop history.”
London, UK | London Gets New Record Store, Next Door Records: It’s located in Shepherd’s Bush and will stock new and second-hand vinyl. A new record shop is opening this week in West London. Located in Shepherd’s Bush, Next Door Records will operate as a record shop, café and bar, and will stock new and vintage vinyl which, the shop’s owners say, “will span a variety of sounds for both the living room and the dancefloor.” In addition to selling records, Next Door will host exhibitions, workshops and events such as book launches and music performances. The shop is the second record store to open in London this year after the team behind a crowdfunding campaign set up last year raised enough money to set up Disc Word in Deptford, South London. Next Door, which opens on August 12, came about following a successful Kickstarter crowdfunding campaign, which saw the team behind it raise £4,231 of their original £3,000 goal last month. Next Door Records can be found at 304 Uxbridge Road, London, W12 7LJ.
Record Store Recs: Simón Mejía Of Bomba Estéreo Takes Us To Colombia: The bassist/ producer and co-founder of beloved electro-cumbia act Bomba Estéreo takes us on an adventure through some of the sounds and hidden vinyl haunts of his home country. With the unprecedented global disruption of 2020, it’s important to support the music community however we can. With our series Record Store Recs, GRAMMY.com checks in with vinyl-loving artists to learn more about their favorite record stores and the gems they’ve found there. As the co-founder and producer of the lively electro-tropical outfit Bomba Estéreo, Simón Mejía has been crafting irresistible cumbia-infused beats that have been getting the world dancing for over a decade. Formed in Bogotá, Colombia in 2005 with vocalist Li Saumet, the GRAMMY- and Latin GRAMMY-nominated group made their mark globally with the explosive “Fuego” in 2009 and have been unstoppable ever since.
Dundalk, IE | Bringing a Dundalk music community together in the centre of town: A long time had passed since Dundalk had a fully-fledged – traditional – record shop on its streets, but when Classified Records opened its doors back in August 14, 2015, music-lovers rejoiced. At a time when the idea of buying a physical record seemed to be a thing of the past, owner Neil Waters thought otherwise, a brave move at an already difficult times for high street shopping. But five years on, this ever-popular shop, situated in the Demesne in the centre of town has, Neil feels, helped “accelerate the re-emergence of vinyl as a popular music format that was once considered defunct.” He adds: “Once again, vinyl is universally en-vogue and has also developed into a concrete interest for younger music lovers who grew up in the digital age. It’s truly a small wonder that this analogue technology can thrive in a wireless world of Spotify, music apps, free downloads and cloud sharing.” Neil, who takes up station in the shop every day, comes across as a record addict, he lives, breathes and eats music. For him, still being in business five years down the road is more about having a thick neck and holding firm.
As if recovering from a raucous dream of the 1960s, Gerry Beckley, Dewey Bunnell, and Dan Peek arrived on 1970s American radio with a sound that echoed disenchanted hearts of young people everywhere. Celebrating America the band’s fiftieth anniversary, Gerry Beckley and Dewey Bunnell share stories of growing up, growing together, and growing older in America, the Band — an Authorized Biography. The Vinyl District writer Jude Warne weaves original interviews with Beckley, Bunnell, and many others into a dynamic cultural history of America, the band, and America, the nation.
Selections from “Chapter One – The Song”
The single wasn’t right; that much was clear. Warner Brothers had listened to the final version of America’s self-titled debut album and its proposed first single. “I Need You” was a ballad by Gerry Beckley, who, as a pop composer and unrelenting romantic, was on the path to becoming Uncle Sam’s Paul McCartney. The song encapsulated the nineteen-year- old’s delicate dance between innocence and experience, acknowledging the earnestness of romantic curiosity, with an unmistakable undertone of sex appeal. “I Need You” was set indoors, where Gerry’s writerly character would reside for the majority of his artistic life.
The song’s theme was what Lennon and McCartney had dubbed “The Word” in their 1965 song on Rubber Soul and in 1967 had declared to be all you need. A generation of young people had recently seized the word in their quest to redefine what mattered for society and for culture, what was important – and just how far and in how many different directions it could fly. It was something that the cumulative youth ideology of the recently closed decade had assumed for its main tenet. It was something thought to have been the answer: love.
But it was 1971 now. The Beatles had broken up. The ’60s were literally—and in many ways figuratively—over. The year 1969 had witnessed the manifestation of the decade’s full potential in the freedom- laden beauty of Woodstock. But it had also witnessed its seeming demise in the heinous murders by the Manson Family, as well as the ill-fated Altamont Free Concert on what Rolling Stone would call “rock ’n’ roll’s all-time worst day.” Disappointment was palpable. Malaise and indifference threatened. A widespread sense of trust in freedom had been violated. What would happen to love? Where would it go? Who would reclaim it?
Gerry Beckley, at least for his own band, America. “I Need You” was Beatlesque, simple and beautifully melodic, a slow song, a pop standard. It immediately established Gerry’s musical character as one foot in the past—the tradition and history of the songwriting craft—and the other in the future—the ever-evolving technological possibilities of the recording studio. Gerry was a born music producer who felt at home in the studio and was intellectually curious about its creative opportunities. He was a big-picture man, able to consider the totality of a song and understand what made it work—and what could make it better.