“In the modern arms race to reduce music to its most easily digestible digital form, there is something so defiant and downright radical about vinyl. Having an artist demand your time and attention for the length of an entire LP seems revolutionary in 2020. And yet even with our ever-dwindling attention spans, there is still something in our core which desires that deeper, magical and transformative connection.”
“Music has always been my lifeblood and the well I return to when nothing else makes sense. I’ve spent countless late nights alone with my records listening to the understated brilliance of Karen Dalton, Bobbie Gentry, Lucinda Williams, Townes Van Zandt, John Prine, Nina Simone, Julie London, Bob Dylan, Leonard Cohen, and Howlin’ Wolf to name a few of my greatest hits. My relationships with these records is so personal and intimate. It’s like visiting an old friend that has some insight into the universe I’m hoping to catch a glimpse of.
When I think about the first time I heard Nebraska or Highway 61 Revisited or Lead Belly or Aretha on vinyl, it’s basically the equivalent of BC / AD. They altered the course of my life and thinking and fundamentally challenged and changed my worldview.
There are so many amazing independent labels out there putting out records that have been integral to my understanding of music and also the history of America. From Alan Lomax’s Archive of American Folk Songs to contemporary labels like Light In The Attic’s reissues of the brazen genius of Betty Davis’ They Say I’m Different to compilations like Country Funk 1969–1975, to Fat Possum’s release of RL Burnside and Junior Kimbrough. It’s the connective tissue of our history and ultimately humanity.
I’m also experiencing vinyl again for the first time through my 4-year-old son. I bought him this little yellow Third Man mini record player before he was even born and I’m lucky to have thousands of old 45s from my Grandfather’s time in the jukebox business (see my last First Date for more on that).
When he was really young, he loved the exuberant abandon of The Beatles’ version of “Twist & Shout” all the Motown, Chess, and Stax hits. He is now totally obsessed with a random 45 of The Jets, “Crush on You” / “Right Before My Eyes” from 1986. He is adamant about putting on the needle and really prefers the B Side. It’s pretty adorable and I actually have no idea where the record even came from.
Which brings me to the great joy of visiting record shops around the world. It’s the thing I really miss most about not being able to tour. That morning off just wandering the isles. I grew up not far from Berkeley, California which is where I first properly experienced Amoeba and Rasputin Music. I’m also a massive fan of Grimey’s and The Groove in East Nashville and of course, Rough Trade in East London.
I’ve found many great books like Viv Albertine’s, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys and the first time I saw one of my own vinyl records on the shelves will still be one of the happiest days of my life.”
—Marchelle Bradanini
Marchelle Bradanini’s debut solo full length release Only A Woman arrives in stores on July 3, 2020 via Cosmic Thug Records & Press, the label Bradanini co-founded with producers Adam Landry and Justin Collins (Deer Tick, Middle Brother, Diamond Rugs).
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PHOTO: BALEE GREER
