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Journal record de collecteur | Record Collector periódico | De Krant van de Collector van het verslag |
SERVING RECORD COLLECTORS WORLDWIDE AND BEYOND n RECORDCOLLECTORNEWS.COM n SEPTEMBER-OCTOBER 2012 n ISSUE 28
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jim kaplan – publisher
contributors Lance Baresi, Greg Burk, Deke Dickerson,
Michael Fremer, Ron Garmon, Cary Ginell, Joe Goodman,
Michael Layne Heath, Ralph Hulett, Seth Kasselman, Harvey Kubernik,
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Richard Morris, Peter Palmiere, Steve Propes, Suzanne Rush,
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David Thomson, Richie Unterberger, Jeb Woodhouse, Tony Scott Zubia Japanese Translation: Keiko Thang
designSuzanne Rush
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cover photo:Richard Peters © Authentic Hendrix, LLC
Record collector newsServing Record Collectors World Wide and Beyond.
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subscriptions are available by first class mail. Six issues, $25.00. (Canada/Mexico, $35, all other countries $50). Record Collector News. 827 Hollywood Way #233, Burbank, CA 91505. 818-209-5685.
Mumbo jumbo Copyright 2012 Record Collector News. Jim Kaplan. All rights reserved. No articles illustrations, photographs or any other editorial matter or advertisements herein may be reproduced without written permission of copyright owner. Printed in U.S.A. So watch it…
Vol. 5 No.3, sept.-oct. 2012, Issue 28
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BONUS TRACKS
West side gets MoRe east side
With the plethora of record stores opening up in Eagle Rock, Highland Park, Atwater, Silver Lake and Echo Park areas of Los Angeles, its nice to see a couple of new stores open up on the west side. Specifically, Touch Vinyl at 1646 Sawtelle Blvd and Angel City Records and Books at 218 Pier Ave. in Santa Monica. Suddenly the west side is a destination for records. I mean it always was because of Record Surplus, but now you’ve got these two new beauties plus Record Surplus and Second Spin. I’d say get there pretty quick as these stores really make the west side all about vinyl again.
niRvana ‘69
Our own Patrick Campbell-Lyons of Nirvana UK fame has released Cult on Global Recording Artists. Billed as “the Young Persons Guide to Nirvana”, it’s a wonderful romp through their amazing catalogue. Not to be missed by you Brit psych pop fans.
johnny cash
People get ready for lots of Cash. Columbia Legacy has released We Walk The Line: A celebration of the music of Johnny Cash, (CD and DVD) capturing the all star 80th birthday concert spectacular, as well as The Greatest Series, four new collections of The Number Ones (CD and DVD) The Greatest: Country Classics, The Greatest:
A Bitchin’ Summer of Music
WHAT A BITCHIN’ SUM-mer so far. Among other treasures, I re-cently found a copy
of Frank Zappa’s Old Masters Volume Two and the dinero to purchase it. It fit right between volumes One and Three. Then I found a copy of You Can’t Do That On Stage Any More Volume 2, the Helsinki Concert – on vinyl. 3 record box. Holy
shitinski this thing sounds good. Then I heard that The Zappa Family Trust made a deal with Universal to release the whole catalog again on CD. I bought a copy of Absolutely Free and a copy of Burnt Weeny Sandwich and brought them home to compare against the other, previous CD issues. Son of a bitch, they sound fantastic and are from different sources than the previous versions. I’m not saying you have to trade in your old CDs and upgrade to these new reissues. But I am. And if there’s anything missing from your Zappa collection now’s the time to fill those holes. There’s absolutely no extra tracks or shit never meant to be on there in the first place. I’ve just never heard Frank Zappa sound so good on CD and that’s good enough for me.
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Gospel Songs and The Greatest: Duets. Some day scholars will look back and wonder why there was such a cluster of genius in popular music in the 20th century. It’s becoming clear that Johnny Cash is a large part of that genius. Experience it now with these great collections.
taj MahaL
Legacy Recordings has released The Hidden Treasures of Taj Mahal 1969-1973, a two-disc collection of previously un-released studio and live per-formances. Taj Mahal is a treasure and this collection is an amazing jewel. Get it.
dvd
John Lee Hooker Cook With The Hook: Live 1974 documents Saturday, July 6, 1974, when
John Lee Hooker was one of the star a t t r a c t i on s at al all day festival called “Down in the Dumps” held at the
city landfill area of the town of Gardner Massachusetts. We are super lucky that hookers performance was captured on a three camera shoot and broadcast on cable television in local cities and towns. The film is an amazing slice of Hooker and the amazingly bad edits are kind of endearing to the whole 1970’s cable access thing. Fans
of Hooker and the blues are going to LOVE this DVD.
do the Math
Folk Arts Rare Records in San Diego was 45 years old on July 31st. Still open every day at 2881 Adams Ave. Happy Birthday Lou Curtiss and Folk Arts Rare Records!!! Thank you for your service!
Light in the Attic 10th Anniversary Show at the El Ray Theatre in Los Angeles features headliner Rodriguez as well as our own Stephen John Kalinich. Not to be missed, Light in the Attic is a pretty damn important label and 10 years is a loooonnnnggggg time so congrats to Matt and Co. at Light in the Attic Records. And you don’t want to miss the chance to see Stevie Kalinich spread the word in person.
Peace and love,
10 | RCN WWW.RECORDCOLLECTORNEWS.COM
The Galactic SymphoniesRichard Durrant and Stephen John Kalnich’s new collaboration
Fringe festival. We had three screens and a visual Artist Malcolm Buchanan-Dick who is a genius and added texture to the live show. It was an astonishing show.
I became to close to Richard’s family and we had many great rehearsals getting up at six a.m., taking a bus to Shoreham and being there before nine to begin. It was a lot of work but rewarding. I love Richard’s family.
I also want to thank Adrian Shephard the director of the DVD video, he came in from Berlin to Direct the video and put his gloss over everything. A truly unique and talented, inspired individual.
Q: Stephen what are your memories of performing the piece live for example, at the Brighton fringe Festival or Colourscape Lutterworth or whatever else you want to say.
S. I was transported to another dimension. It was inspiring and people really seemed to relate to it. Many people came up to me after and said they never experienced anything like it.They were moved and a few shaken and some very young people came up to me and asked questions and seemed to get into it at an intense level. I had a sense we were communicating I loved the wireless headset. It gave me range of motion and it was a blast. The Galactic symphonies are one of my favorite projects in my whole life that rival the Beach Boys or Paul McCartney experience, or anything I have ever done. There is a spiritual nature to them. A motion a dance. They make you change, open you, kiss your soul and a sliver slides into you of some hope that mankind can be better.
Q: You had 3 back screen projections on stage. Stephen tell me about this and Malcolm and his involvement.
S. Richard explained about Malcolm he is a tremendous artist in his own right and also able to improvise as I speak and chant and sing he knows what images to use how to do it very symphonic so refreshing a work that changes every night every second and one never gets tired of doing the galactic and seeing images on the Gigantic screen,
BY HARVEY KUBERNIK
Galactic Symphonies, a collabora-tion between guitarist Richard Durrant and poet Stephen John Kalinich, initially released in
2008 on the U.K. based LongMan record label has been picked up for distribution in the U.S. by MsMusic, Productions.
Kalinich supplies spoken word narration to instrumental tracks and sung voices from Durrant.
The Galactic Symphonies retail item con-tains studio sessions held at LongMan stu-dios coupled with live version audio versions housed in a DVD stereo surround sound. Adrian Shepard filmed and directed the live performance at Ropetackle Arts Centre.
Harvey Kubernik talks to both Stephen John Kalinich and Richard Durrant about their ground-breaking endeavor
STePhen John KALiniCh inTeRView
Q. How did this project start?
Stephen: I met Richard on David Courtney’s radio show in Brighton UK. He produced Roger Daltrey and Leo Sayer albums.
Q: Tell me about working with Richard?
S. Working with Richard was exhilarating and creative, challenging and at times when we worked separately at first, tough to deal with but later I enjoyed the process. We gave each other space to create in our own unique ways and put them together. Richard is a focused worker.
Q: What about putting the music together with the poems?
S. Richard created the most lush beds and layers of music and sound imaginable. It was a joyous experience in my life we created an arc of sound and music in different tones and colors and it was sound impressionism. Inspiring touching unique in the festivals we played in. There was nothing like it. People were taken to another dimension, transformed, awed.
Q: What was it like collaborating with Richard.
S. He is like sonar. He zeros in on the target. He finds the right balance and emotional tone for the poem and bounces it off me. It felt at times if we had the company behind us we could create these adventures indefinitely. Things are always new and Richard brought that excellence out of me and sometimes had me edit the poems or shorten them to fit his audio painting leaving as little to chance as possible.
Q: What was the process for you Stephen?
S. It was stimulating. The days I worked alone coming up with what poems fit was different than my usual process but it was an interesting way to co-create and perform.
He allowed me a certain freedom because he is improvisational. I could come in where I wanted to live and he was right there driving me with me encouraging and moving me. Each time it was different and it was a surprise and a new birth. No two performances were exactly te same bit for the DVD and record CD we had to set a limit pick a boundary to contain our work within. It was insane at times but exhilarating and great fun and it has a sense of aliveness I have seldom known that rivals my collaboration with Dennis Wilson.
We played many venues and the Brighton
(L-R) Poet Stephen John Kalnich and guitarist Richard Durrant.
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I hope American Audiences get to experience this grand adventure.
Q. Stephen any feelings, thoughts reflections on this project or anything you want to say about this unique collaboration?
S. I would love to be with Richard again and do it. I would be thrilled to see Richard and his kids and Louise. I would love to do this around the world
Q. If you want to say anything about Paul Adsett.
S. Paul Adsett and Ashley financed got it into the festivals commissioned Richard did so much without Pau it would never have come into fruition. I am extremely grateful to Paul and Ashley. He saw my dream and vision and opened it up for the world and I believe if he had the wealth to bring it to the World he would and he would set up proper financing for the Artist and partners and performers.
Q. How did this project start?
Richard: I was doing a radio interview in the UK and there was this crazy looking guy hanging around for the next interview. We started chatting and instantly felt a friendship and a chemistry.
Q. Tell me about working with Stephen?
S. I remember feeling good that Stevie talked about “real stuff” without any of the reserve that the English often have. We’re both artists with our own specialties and we discussed the meaning of the words and the meaning of the music. Any-body eavesdropping on our conversations would have heard two people totally engrossed in tiny yet elaborate details.
Q: What about putting the music together with the poems ? It was like writing to picture. I could create soundscapes for Stevie to wander about in.
RiChARd duRAnT inTeRView
Q: What was it like collaborating with Stephen.
R: In the studio we made de-cisions, parted in order to work on our own parts, and then came together again to assemble the whole. We were pragmatic, as we’ve both travelled a few miles in the business, but always creative.
Q: What was the process for you?
R: It was an exciting commission that started from a totally blank sheet. That’s always a challenge. I’m also a real loner. My day job is touring my solo guitar show (I’m actually typing this in Paraguay where I have just arrived via Buenos Aires for a guitar concerto), so suddenly being in an intense collaboration was a pretty crazy feeling.
“After we finished writing, Stevie and I gigged the Galactics along with my pal the digital/visual artist Malcolm Buchanan-Dick who made some great digi landscapes for the shows. It was pretty trippy stuff - certainly different to playing the Aranjuez with the RPO! I remember after one gig we all celebrated Stevie’s birthday and he ended up staying at Malcolm’s house. Leaving Stevie at Malc’s, slightly bewildered, an American poet thousands of miles from home, standing on the doorstep in the freezing English wind with Malc’s parrot on his shoulder is a moment I will never forget! When Stevie went back to the States it felt really sad indeed. The family and I miss having him around. So does the parrot...
Q: Richard what are your memories of performing the piece live for example, at the Brighton fringe Festival or Colourscape Lutterworth or whatever else you want to say.
R: It was a real, left field improv show. There was a lot of trust involved: Stevie had to feel where to come in, I’d respond to that, sometimes sitting back
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and waiting and sometimes trying to urge him onwards. And then Malc the artist was also improvising — but this time with his huge bank of images and films. His control interfaces and hard drives had all been put inside an old harmonium with various metal arms attached to keep the triggers within easy reach. His bit of the rig was like something out of Captain Nemo. God only knows what the crowd made of it! There were certainly some very beautiful moments, moments of intensity, moments of chaos. It wasn’t your average poetry reading or guitar concert.
Q: You had 3 back screen projections on stage. Richard tell me about this and Malcolm and his involvement.
R: My solo show uses a lot of projection work (see my YouTube channel) and I’d worked with Malc for years on this. I ran a music club for many years with Malc were I would introduce and then sit in and play with the various guests whilst Malc felt the direction of the music and let rip with his bank of images. I particularly remember a sequence where Malc was switching between some large, hard and violent steam engine close ups and a sequence of little suckling pigs. It was mind blowing.
Q: Richard talk about the new technology in creating the work. CD one side DVD and the process.
R: I wanted to capture the improv aspect from both of us so I created beds of music to play live against. I spent some
time prerecording the beds and then we took the whole show down to my local arts centre and improvised the whole of the Galactics twice in front of a rather shocked, invited audience. My set up used three acoustic guitars and electric bass going through my standard array of loop stations, a Yamaha 01V, two Kaoss Pads and a bunch of volume pedals. Stevie strutted around with a headset mic so he could do the Kalinich dance moves.
Q: Richard What happens when you and Stephen perform a poem on stage.
R: When you choose and create the music to the words poems how do you do this? I prepare by listening to Stevie. Then I create something we both agree sort of works. Then we play it live and Stevie is able to respond to the music because it originally came from his words. That was the plan anyway!
Q: Now that you and Stephen have obtained U.S. distribution for the DVD CD how will you take it to the next level?
R: I’m a creative artist keen to move forward. If we do it again live then it will be as different as any show we’ve done. For better of for worse there is no artistic compromise and Stevie will feel the same.
Q: Richard any feelings Thoughts reflections on this project or anything you want to say about this unique collaboration?
R: I’d love to see Stevie. As I said it was a crazy time we spent together.
Q. How about Paul Adsett?
R: The commission originally came from Paul Adsett — a wonderful guy who lives in Brighton. Paul was the catalyst for this project and should receive credit for boldly going where most would turn and run in terror! Good on you Paul — this would never have happened without you.
16 | RCN WWW.RECORDCOLLECTORNEWS.COM
“Jimi recorded so many great live shows,” suggested Kramer. Berkeley 1970 is definitely up there as one of the finest. Abe Jacob actually did the basic recording. Of course, Abe and I go back many years, and we would always talk about stuff like how to record Jimi. I was very lucky to have him do some of those shows. I never had the opportunity to record Jimi live but I always did all the mixing with him. Starting with Band of Gypsies, which we did together and was very interesting. There is a history there of working together. I know what is needed to make it sound right. Certainly in today’s market you want it to not only have the vintage feel but it’s gotta punch, you know.
“The Berkeley 1970 tapes were in remarkably good shape. Thank God. And I’ve mixed it a few times. I’ve mixed it in stereo first that came out, and then we had to do a 5.1. When there were space limitations for vinyl, we had material that was labeled outtakes,” Kramer underscored. “But in the 5.1 and CD and DVD formats they are now bonus material. And I think that is better to call it a bonus track. You get that extra ‘wow!’ I think the Blu-Ray thing is interesting. What they’ve done is take my 5.1 mixes, taken the footage and converted into Blu-ray. So essentially it’s my 5.1 mix that’s been converted into the format working with team Hendrix, producers John McDermott and Janie Hendrix.
“Obviously in the past we would mix it mostly with analog gear before the digital revolution. Over the last ten years with the tremendous progress that has been made in the digital world, and I have embraced it. Quite frankly, it’s become this amalgam of the way I look at a mix is getting the best of the visual world and the best of the analog world and making the two worlds talk to each other. And I think we’ve refined this method of this amalgam, or combination, or whatever you want to call it, but it is very interesting to me because I can now do things, which I was never able to do. There
time ever — examples from the Hendrix family archive of the late guitarist’s personal drawings, postcards home to his father, song drafts, sketches, and lyrics.
Generated from a new, digitally-restored transfer from the original 16mm negative, “Jimi Plays Berkeley” premieres more than 15 minutes of previously unseen documentary and performance footage of Hendrix classics including “Voodoo Child (Slight Return),” “Machine Gun” and “Hear My Train A Comin” not featured in the original film release.
Jimi Plays Berkeley features a 5.1 surround stereo soundtrack mixed by original Jimi Hendrix engineer Eddie Kramer and commentary from Abe Jacob, the audio engineer who recorded the Hendrix Berkeley concerts in May 1970.
The newly expanded Jimi Plays Berkeley, incorporates a bonus audio-only presentation of Jimi’s complete Berkeley 05/30/1970 second show mixed in 5.1 surround sound. Housing 67 minutes of music, the second set concert recordings include “Pass It On (Straight Ahead),” “Hey Baby (New Rising Sun),” “Lover Man,” “Stone Free,” “Hey Joe,” “I Don’t Live Today,” “Machine Gun,” “Foxey Lady,” “Star Spangled Banner,” “Purple Haze,” and “Voodoo Child (Slight Return).”
The second set from May 30, 1970, is out on CD and on 12” vinyl as Jimi Hendrix Experience: Live At Berkeley (The Second Set). The audiophile 12” double album release is an all-analog recording cut by Bernie Grundman from the master tapes and struck by Quality Record Pressings (QRP) on 200-gram vinyl.
Acclaimed engineer and record producer, Eddie Kramer, mixed Jimi Plays Berkeley. 2012 marks his 50th anniversary in the music business and 70th birthday.
Kramer’s site: eddiekramerarchives.com exhibits 50 of his different photographs, shot between 1967-1972, the period Eddie calls “The Golden Era of Rock n’ Roll.”
Jimi Hendrix
BY HARVEY KUBERNIK
ExPERIENCE HENDRIx LLC AND Legacy Recordings, the catalog division of Sony Music Enter-tainment released a restored and newly expanded edition of Jimi
Plays Berkeley, on Blu-ray and DVD, this past July.
An historic documentary film chronicling the two concerts Jimi Hendrix and band mates performed at the Berkeley Community Theatre on Saturday, May 30, 1970, Jimi Plays Berkeley, captures one of the finest Hendrix moments with bassist Billy Cox and Mitch Mitchell on drums.
The most complete record ever-released of that landmark Saturday in late May 1970, Jimi Plays Berkeley, publishes an essay on the film by noted Jimi Hendrix historian John McDermott.
Legacy Recordings in July also issued the Jimi Hendrix – Voodoo Child film for the first time on Blu-ray. A 90-minute documentary directed by Bob Smeaton.
Jimi Hendrix – Voodoo Child was originally included as a DVD in the West Coast Seattle Boy Jimi Hendrix boxed set. An autobiographical journey told in the legendary musician’s own words as read by Parliament-Funkadelic’s Bootsy Collins, the film incorporates interviews with Hendrix, coupled with the artist’s letters, writings and recordings to provide new insight into one of the most enduring icons of popular culture.
The documentary features Jimi’s trio on stage as well as rare and never before seen footage and photos including — for the first
Plays BerkeleyAn historic documentary film chronicling the two 1970 concerts Jimi Hendrix performed at the Berkeley Community Theatre capture some of his finest moments
SEPTEMBER-OCTOBER 2012 RCN | 17
remembered Jacob. “McCune Sound had always done sound for the Monterey Jazz Festival. So it was a natural fit.
“Monterey was a brilliant time. Nothing like that had ever been attempted and we never figured we were gonna carry it off. I was mostly taking care of all the stage set up at Monterey and went out and mixed front of house for the Mamas and the Papas. I was on stage for almost all of it. And when I first saw the Experience… Wow! This guy plays guitar and puts on a show. I was always interested in the show biz aspect of concerts.
“Then Jimi went out on the road with (promoter) Dick Clark and the Monkees. And he was asked to leave after some dates. Gerry Stickells, who was Jimi’s tour manager, called and said, “We want to take our own
sound with us. Would you like to come?’ ‘Certainly.’”
Jacob then went on the road for all the Jimi Hendrix Experience 1967-1970 tours. He recorded the Jimi Hendrix May, 1970 shows at the Berkeley Community Theatre.
“For Berkeley 1970 we got the Wally Heider recording truck. It was in the San Francisco area where I was from. It naturally worked out that I would be in the truck and Mike Neal would be doing the mix inside the theater,” Jacob reflected.
“We kept it simple. When we toured the sound system for the Experience it was eight microphones. I mean, that was it. Miking was a little different for recording because we obviously had to mike the guitar to put it on tape, which you didn’t in the live venue. Pretty much the
drums, two vocal mikes, some audience mikes for ambience and that was it. We had eight tracks available and everything went on a separate track so it made it easy for Eddie (Kramer) to mix it later on. I just put a mike in front of what they played.
“The basic philosophy was that the sound that came off the stage was what you wanted to present to the live audience and that also what you wanted to present when you recorded it. We had done some things before in the Berkeley Community Theatre. I had stage managed summer stock five years previously which played in that venue,” Jacob reminisced.
”The one memory I have and it has been reported, was that it was such a small room, people trying to get in and we opened the back doors of the recording truck. And people gathered outside the theater to listen to our monitors in the truck. And it probably prevented a riot.
‘To Jimi, at least in the times that I had with him, on and off the stage, was the music and what it sounded like. Whether the performance was up to his standards. I never got much involved in any of the other craziness. I was primarily the guy that wanted to do the live event and make the audience that night very special very unique. And go onto the next night. Not try to archive it or recreate it. In the live sound world, when you saw the guitar player come in for his solo you wanted to bring that out maybe more than it was necessary to do on the recording. Because you wanted the ear to follow what the eye was looking at as far as the performer was going. That was one of the first things I thought about in doing live sound. Not just recreating a record. But to try and capture the performance that’s going on the stage.
“We were there to make the event happen. The philosophy and all of all the other craziness that went on we tried to put off
are devices I can use. “For example,” explained
Eddie, “Jimi’s guitar in the past, let’s just say he hits a note, and it goes into heavy, heavy feedback that is so overpowering that in order to get rid of it I would have to destroy a bunch of the sounds that were there. Now I can go in and surgically, not only lower it significantly, and almost get rid of it, without affecting any of the other instruments. Now for me, in this particular situation, that is incredibly valuable. ‘Cause I am now protecting the essence, the purity if you will, of what Jimi is playing but without destroying anything. And only making it sound better and more listenable. So if I can achieve that then I’ve really done something. And it’s not only the surgery, in terms of removing some certain artifacts, you have to be very, very careful that the artifacts are part of what he did. So you constantly question yourself
“And, I always feel like Jimi is sitting on my shoulder saying, ‘No, Kramer. Don’t do that.’ So that’s what goes on in my mind when I’m mixing the stuff. I want it to sound like Jimi was sitting right next to me in the room saying, ‘You know, this is cool.’ He would be the first one to embrace Pro Tools. So I feel really blessed that I was able to work with him towards the end, mixing and doing stuff, and kind of knew where his head was at. And I’ve think we’ve incorporated all of those ideas with modern technology. Jimi is a purist and the guy everybody wants to sound like,” Kramer concluded, who is working on a book and a documentary, From the Other Side of the Glass.
In 1966, Abe Jacob was working as an audio engineer for a Bay area audio company, McCune Sound. He handled sound for the 1966 and ’67 Mamas and the Papas live concert dates, road shows for Peter, Paul & Mary, and the Monterey International Pop Festival.
“I was doing some work with Chet Helms at the Family Dog,”
Jimi Hendrix, 1970, Gerkeley, CA.
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18 | RCN WWW.RECORDCOLLECTORNEWS.COM
for the time being. I guess most of the acts that were travelling and playing 1967-1970 just stood there and played. Jimi gave it some kind of theatrical flair which I guess really worked,” volunteered Abe.
Following the death of Hendrix in 1970, as a sound designer Jacob then pioneered and introduced new concepts in the Broadway theatre. Jacob’s original designs include Hair, Jesus Christ Superstar, Evita, Beatlemania and Chicago.
“We take great pride in doing our part to preserve the music of my brother, Jimi, especially during his 70th birthday year,” stated Janie Hendrix, President and CEO of Experience Hendrix and co-producer (with John McDermott) of the Jimi Plays Berkeley DVD. (Jimi Hendrix, born November 27, 1942, would be 70 this year.)
“Sony Legacy is doing a wonderful job. I guess what we kind of do is that we give you a studio, we give you a live we give you a studio, we give you a live. Speaking with Sony they were very interested in adding to this title. You don’t just want to re-buy or not re-buy what you already have. So there is added material. It’s all about Jimi and the fans who hear Jimi for who he is. From sound check to the show.
“And Jimi had a relationship with Berkeley,” Janie disclosed. “When my father was in the service, Lucille (Jimi’s mother) sort of lost track of Jimi and he ended up in Berkeley, with a wonderful family that wanted to adopt him. My dad wasn’t having any of that. ‘No, I want my son back. Thanks for taking care of him.’ So Jimi did have a little bit of roots there. First of all, in everything we do for Jimi it is really an honor for us to be able to re-visit to watch it. Not only while we’re doing it but when it comes out. We always find a new gem. It doesn’t matter how many times we’ve heard it, we discover something new.
“My technical guys, Eddie (Kramer) and Abe (Jacob) can tell you down to who did what. But for me, it’s really heart-warming to be able to put Jimi’s music out in performance as he would have seen them because this generation never got a chance to see him perform,” summarized Janie.“
Jimi Hendrix: The Ultimate Lyric Book (Backbeat Books, November 2012, $40) contains all the words to the Hendrix classics fans have heard and collected for years, Compiled by Janie Hendrix, “Jimi Hendrix: The Ultimate Lyric Book” is extraordinarily personal, and integrates numerous examples of Jimi’s handwritten lyrics, often scribbled on hotel stationery, as well as never-before-seen photos of him that accompany every song.
“We have a real good rela-tionship with Hal Leonard,”
the hand written lyrics from Bob Levine. He actually supplied us with them. Bob worked with Jimi back in the day. He and his wife were in charge of making sure that his songs were published. Over the decades we were in contact, and actually, he reached out to us and said, ‘I have all of these handwritten lyrics. Would you be interested?’ He sent some samples of things that he had. And so then we just negotiated and he was able to deliver the product.
“When I saw them for the first time it was hard to describe,” marveled Janie. “I’ve always found Jimi’s lyrics and his drawings to not only be a part of him and his soul, but it really reflects another artistic side to him that people don’t really know or see or experience.
“When I was a child, I was always fascinated by my brother Jimi’s handwriting. It was an art form in and of itself. I remember the feeling of being captivated the first time I saw his handwritten lyrics. Thinking how beautiful, how complicated both the writing and the words were on paper. Even now they offer such an insight into who my brother was and is. To know Jimi’s hand was on that pen that wrote those words and out of his spirit comes these words in forms of songs or poetry. And it’s almost like touching a holy grail,” Janie exclaimed.
“Putting out Jimi’s music is splendid all in itself. But the lyrics I think give a whole other facet who Jimi is. You hear Jimi’s recordings on the radio, or the Pandora Hendrix channel, or an Mp3 player, and you hear it. But to actually read and ponder and mediate and concentrate and take yourself into a whole different realm by reading the lyrics because sometimes the lyrics get lost in the music. The beat. We get caught up in the rhythm and we may not be listening to the words that are being said.
“We had a couple of different
reinforced Janie. “We put out a lyric book with Hal Leonard before, but since then, we unearthed some more lyrics, found some handwritten lyrics, and there have been more songs we’ve unearthed,” she revealed.
“And last year at NAMM (National Association of Music Merchants), we had a meeting about the different folios that we’re going to put out this year. Of course, we always make sure there are folios for every release that we do that reflect the release. And then the lyric book came up. It’s been out of print and off the shelves and we just acquired all of these new lyrics. Which would make a beautiful coffee table book. And they were listening. And they’ve been there for us the whole time. And actually before Experience Hendrix existed, Hal Leonard did our folios.
“And we were able to obtain
Jimi Hendrix, 1970, Gerkeley, CA.
RichaRd PeteRs © au
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versions of the lyric book,” added Janie, “including songs that he covered. But then it would be a little more complicated. But we do have a whole section of un-published works that have no music to it but there lyrics and poetry the way he wrote it and they were songs that he was working on.
“You can totally see him evolving. And the different interests he had. And, yes, in the very beginning he was very much into science fiction which I don’t think ever left him. He was also into colors and he was into prisms, and how colors affect you as people. He also wanted people to wake up. Be active and pro-active and be a part of what is going on. You can hear and see and read all of that in his lyrics where he was constantly evolving into. Really, I think of Jimi as a prophet in many ways. Because what he was saying to people is something that really, if they listen, people of today still need to hear the same message.”
Due in the near future is a live Jimi Hendrix recording from the 1969 Miami Pop Festival. Janie Hendrix, John McDermott and Eddie Kramer, are also concentrating on a studio album that is scheduled for retail distribution, People, Hell and Angels. It’s part of the trilogy of the First Rays of the New
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Rising Sun and Valleys of Neptune albums. Jimi Hendrix’s 70th birthday will be
celebrated in a major exhibition Hear My Train a Comin’: Hendrix Hits London which opens November 17, 2012 in Seattle, Washington at the EMP Museum. Endorsed by Experience Hendrix LLC, Hear My Train a
Comin’: Hendrix Hits London focuses on Jimi Hendrix’s arrival in London in September 1966, his rise to prominence on the British pop charts, and his subsequent return to America in June 1967 when his incendiary performance at the Monterey International Pop Festival created a worldwide sensation.
Hear My Train a Comin is certain to be an informative and fascinating exhibition,” stressed Janie. “It is wonderful to be able to share so much of Jimi with fans. There is no question that it will solidify my brother’s place at the very top of music’s pantheon. While we celebrate his birth and legacy every day, the exhibition at EMP and the companion exhibit at London’s Hospital Club Gallery offer tangible proof of his trans-generational impact and continuing appeal.”
(Los angeles native harvey Kubernik has been an active music journalist for 40 years and the author of 5 books. this century Kubernik penned the liner notes to the cd re-releases of carole King’s “tapestry,” allen Ginsberg’s “Kaddish,” and the “elvis Presley ’68 comeback special).”
“Jimi Plays Berkeley” on Blu-ray + dVd and “Voodoo child” Blu-ray dVd ; “Jimi hendrix: the ultimate Lyric Book” due in november; For information: www.jimihendrix.com
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Japanese Punk:A Brief History
for this recording and later turned into Size. Pain broke up the day of the recording and became Fresh. Supposedly the harder punk acts saw this recording as an attempt to further commercialize the less controversial bands known as “Gyokai (commercial) New Wave.”
The wilder punk bands decided to record for another album. On March 11, 1979 these bands played at the Shinjuku Loft and recorded the live album that became known as Tokyo Rockers. The bands on this LP were Friction, Mirrors, S-Ken, and Mr. Kite. A Japanese proto-hardcore group called SS also played this show, but did not make the LP. Luckily, the backers of the Tokyo Rockers LP, who were CBS/Sony, also funded a film student to document the event on a film also titled Tokyo Rockers which includes the blistering performance by SS. Both of these LPs together make a fascinating document of the odd and blistering sounds coming out of Japan at the time.
Both of the above mentioned LPs were eagerly snatched up by fans in Japan, but internationally these bands were still fairly obscure. Some of the other punk and new wave bands of the first wave were; Anarchy, Totsuzen, danball, Gunjogacrayon, Jagatara, and Taco. There was also a small scene called Kansai No Wave (modeled after the New York No Wave scene) that included; Aunt Sally, Phew, Machizo Machida, hijou Kaidan, and others. Luckily several independent labels sprang up to document these bands onto vinyl like Gozira, 100%, Aspirin, Pass, Telegraph, Junk Connection, City Rocker, and Vanity. By the end of 1979, times were changing and bands were getting faster and harder just like their contemporaries in other countries. Hardcore was coming…
Although SS were playing their unique brand of proto-hardcore, which was like Ramones sped up by ten, by 1979, it is not until 1980 that the band starts up that defines the era of Japanese hardcore to come. In 1980 a 32 year old socialist activist and former Vietnam veteran decides to start a band. His idea is to create the loudest, wildest, most aggressive band in Japan.
Michiro Endo, who is now considered the Iggy Pop-type figure of Japan in legendary status, starts a group called The Stalin. He picks the name The Stalin as the Russian leader was more hated in Japan than Adolf Hitler and figured that name alone should spark some controversy, much the way the Dead Kennedys were doing in the United States. He wanted a band that would interact confrontationally with the audience to
BY GREG MCWHORTER
TRYING TO TRACE THE MUSICAL history of any area is tough enough, but cracking the history of Japanese punk rock has been especially hard for someone like
me that cannot read or speak the language. Although language is a barrier, music is universal. I first became enamored with Japanese punk in 1984 when I bought the excellent compilation put out by Maximum Rock’n’Roll Magazine titled Maximum Rock’n’Roll Presents Welcome to 1984, a worldwide compilation. This compilation featured amazing sounding bands from all over the globe, but one that struck a particular chord with me was a band from Japan called The Stalin. They were simply amazing! From their chainsaw guitars and their screaming vocals; to the photo of the band playing a large show while spraying people with a fire extinguisher; was just too good to believe. I had to know more.
Over the years since 1984 I was able to acquire a few Japanese records here and there, but thanks to the internet and eBay and tape traders, I have been able to piece together a clearer picture of the punk scene in Japan. This article is by no means supposed to be complete. I’m sure that I’m missing lots of great bands from around Japan so I am mostly focusing on the bands of the Tokyo scene and mostly the ones that revolved around the premier punk club in Japan, the Shinjuku Loft. Last year, the Shinjuku loft celebrated its 35th anniversary. The Shinjuku Loft, or simply “The Loft,” as regulars refer to it, opened its doors on October 1st, 1976. Since that time, it has moved from its humble beginnings in a tiny space in the red light district of Tokyo’s worst suburb, to a larger venue that holds over 500 people with two main stages that take up an entire basement floor in the Kabuki-cho area of Tokyo.
Please understand that much of the information that I have found has been second-hand, or through delving deep into the catacombs of the Internet. Some time during 1976, a few friends got together and
decided to start an alternative club space. The guys who started the Shinjuku-Loft were originally fans of David Bowie and glam rock. They were hoping to attract others who liked the same type of music while offering a space for artists and musicians to hang out. A Bohemian Disneyland of drugs, prostitution, and new sounds was emerging here. Shinjuku was in the middle of what was then the red light district and a suburb of Tokyo. This was the perfect place for an emerging punk scene to take hold and grow — much like the Masque in Los Angeles or CBGB’s in New York.
From 1976 to 1977 mostly glam bands played at The Loft, but starting around 1978, new wave and punk bands that had been inspired by groups like the Ramones, Sex Pistols, The Clash, Dead Boys, and others were starting to call the club their home base.
The first bands to gain notoriety were new wave acts that bordered on commercial appeal. Bands with names like Sex, Pain, 8 ½, Speed, and Bolshie, were some of the first to gain followings. It was within the same year the scene factionalized into two camps; the new wavers and the rockers. Punk groups with names like Friction, Mr. Kite, Lizard!, Mirrors, S-Ken, and SS made up the latter group. All of these bands were causing such a vibe that college students and media were taking notice of their very own punk scene. The Japanese media had been quick to pick up on punk rock as it was happening worldwide, and now they had their own scene to focus on. Other live venues were also starting to spring up like the S-Ken Studio that opened on May 1978 in Roppongi to cater to the wilder acts.
On January 21st, 1979 some of the first wave of bands that had been regulars of The Loft recorded a live album. The album Tokyo New Wave ’79 was recorded for the Japanese branch of Victor Records. The album was not recorded at The Loft, but at a more controlled environment at a place called Raihi-Kan-Moleno. Besides Sex, Pain, 8 ½, and the Bolshie, who were on the LP, Speed, Lizard!, and the Mirrors also played this live event. Sex had already being defunct, but regrouped
PUNK
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San Diego
13
12021
24
rCN, iSSue nuMBer 28, SePT-OCT 2012
SEPTEMBER-OCTOBER 2012 RCN | 25
Bodfish
Eagle Mountain
East Blythe
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Nebo Center
Niland
North Edwards
Seeley
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Yermo
Boron
Buellton
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115
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118
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126
138138
138
138
14
14
14
142
150
154
155
166166
177
178
178
178
1818
18
18 18
2
2
215
223227
23
23
23
243
246247
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33
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Bodfish
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East Blythe
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Niland
North Edwards
Seeley
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111
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115
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118
119
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126 138
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138
138
14
14
14
142
150
154
155
166166
177
178
178
178
1818
18
18 18
2
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215
223227
23
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243
246247
247
30
33
33
33
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330
38
38
39
41
41
4346
46
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58
5858
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58
58
58
60
62
62
62
6262
65
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74
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7474
75
76
7878
78
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79
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7986
86
86
9191
9494
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99
99
101
101
101
101
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395
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15
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DowntownLos Angeles
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710
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Bodfish
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San Diego
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111
111
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115
115
118
119
119
126
138138
138
138
14
14
14
142
150
154
155
166166
177
178
178
178
1818
18
18 18
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2
215
223227
23
23
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243
246247
247
30
33
33
33
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330
38
38
39
41
41
4346
46
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58
5858
58
58
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58
60
62
62
62
6262
65
67
74
74
7474
75
76
7878
78
78
78
79
79
79
7986
86
86
9191
9494
9898
99
99
101
101
101
101
101
395
395
95
95
95
10
10
10
10
15
15
15
15
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4040
4040
5
5
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8
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DowntownLos Angeles
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Buena Park
Cypress
Claremont
Torrance
Studio CitySherman
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Tarzana210405
710
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11
56
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21 59
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24
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inspire thought and action. The Stalin start playing the Shinjuku Loft and are regulars for much of 1980 through 1982 when they held the distinction of being the wildest band in Japan until other hardcore acts like G.i.S.M., execute, Confuse, Kuro, Ghoul, Cobra, and many others start around 1982.
Michiro Endo was known to get naked on stage and rush the audience, or blast the audience with fire extinguishers and human feces, or throw dead pig or fish heads into groups of his fans, and he was also known to pull hair, spit on, and even beat up audience members all the while singing/yelling into a bullhorn. Through all of this, the band gained huge audiences and enjoy a huge cult following even today. The Stalin started releasing records in 1980, but their first full-length LP Trash, was not released until December 1981.
By the time their second LP Stop Jap, came out in 1982, they were on their way to national success, playing large hall venues and appearing in two films as themselves; Burst City and Carnival In The Night.
From 1982 up until around 1990, Japan had thousands of new wave and punk bands that ran the gamut from small-time to commercially successful. Besides all of the hardcore bands, Japan started to see the emergence of all-female punk bands that were still somewhat of a controversy in their male-dominated culture. The all-girl band Shonen Knife being the prime example that opened the doors for bands like the 5,6,7,8’s and etc.
Another notable band that started in Nagoya in 1977 was The Star Club. The Star Club have had many releases starting with their first in 1978 and still tour today and even have an upcoming show scheduled at The Loft, which is still the main alternative venue in Japan for both local and touring bands
even after 35 years! Another band that a whole book could be written about is The Blue hearts who sold hundreds of thousands of records in the 1990s and made punk openly acceptable for the masses as their controversially political songs funneled into average households via their infectious power-pop punk hooks. Their song “Linda, Linda, Linda” also inspired a film also
titled Linda, Linda, Linda. Then there is the infamous Guitar wolf who started releasing material internationally during the mid-1990s and continues on today. They recently starred in a Japanese Horror-Punk film titled Wild Zero that portrayed them as modern-day anti-heroes living out their rock & roll dreams.
I cannot begin to document the era post-1982 within the
confines of an article so I won’t. I feel that I barely have enough salient information for even this article, but I hope that this article creates interest in a scene that is huge and largely untapped by Western punks. Punk is alive and well in Japan today and there are many great bands both past and present that merit a listen. Go dig!
28 | RCN WWW.RECORDCOLLECTORNEWS.COM
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ty segaLLSlaughterhouse, 2x10” (In The Red)
MANY LONG-TIME TY FANS were thrown for a loop by his last long-player, Goodbye Bread. It was a mellower, more sophis-ticated record that showed Ty’s softer, singer-songwriter side more than any of his previous full-throttled garage blasters. Slaughterhouse isn’t ex-actly a return to form, but rather an extension of the Ty’s dark side previously on-ly exhibited on the Spiders 7” from last year. If you’re up for a carnal rock’n’roll ride, this one’s well worth flipping all four 10” sides.
sLug guts Playing In Time With The Deadbeat, LP (Sacred Bones)
HOWLIN’ GANG WAS ONE OF MY favorite records from 2011, so I’ve been looking forward to Slug Guts’ follow-up all year. My wait is finally over. Slug Guts has returned to Sacred Bones for their third
LP. As close followers of the Oz already know, the Australian under-ground took a major hit this year with the loss of Negative Guest List chief Brendon Annesley. This loss affected me intensely, so I can only imagine how it affected his close friends and family. The band also had to deal with some other legal, mental, and physical disasters since their last record. Playing In Time With The Deadbeat reflects these hardships very clearly in it’s dark, murky pool of gothic swamp punk.
soLid attitude B.B. Gun Picnic, LP
SOLID ATTITUDE KNOCKED SOME seemingly stuck-on socks off some pretty stinky feet with their first single on Rotted Tooth and here they are 18 months later laying their first LP on us. Some bands only got one good single in ‘em. Not these dudes. They got one great single in ‘em and a whole LPs worth of singles conveniently grouped together on this LP. Each one of these numbers would’ve made
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a good single (“Black Pocket” being the most community radio friendly of the bunch), therefore, this LP rules from the outer edge of Side A to the center label of Side B. If you like your punk snotty, mid-fi, and subtly melodic, then you need to get a bag lunch together and join in on this B.B. Gun Picnic before the ants run away with all the goodies.
cosMonautsIf You Wanna Die, Then I Wanna Die, LP (Burger)
SUMMER = SURF = REVERB. SIMPLE math, right? These OC garage surf psychsters’ sophomore LP isn’t summertime fun per se, it’s too foreboding for that. It’s more cigarettes than bubblegum; more yin than yang. Although a leather jacket is suggested, head bobbing is absolutely allowed. These songs are catchy as fuck, but don’t you dare sing along without wearing yr Wayfarers.
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Marble Vanity’s debut LP isn’t afraid to rock. If Forever Changes is your favorite Love record and you consider Ayers and Wyatt gen-iuses, you gotta hear Marble Vanity. One-dimensional garage punks need not apply, there’s flute, piano, harpsichord, cornet, and natural field recordings all over this platter — and it totally works. See also: Paperhead and Mikal Cronin.
vincas Blood Bleeds, LP (Douchemaster)
I’M NOT SURE HOW THE Douchemaster got a hold of this, ‘cuz I don’t know any douchebag minions that’d be down with Vincas, but I’m stoked that they did. Vincas’ originally released this themselves in a collector scum-friendly edition of 100 copies. Thanks to the Douchemaster label it’s back in a more gen pop, albeit underground, friendly edition of 500. Sure, you don’t get the hand-screened jacket, but you still get the same quality swamp-scuzz ga-rage-punk bumps in the grooves. Vincas sound a lot like Gun Club full of Scientists having a Birthday Party. Ya dig? I’m Cramped!
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the heads Relaxing With The Heads, LP (Rooster)
Calling all heads! The Heads classic Relaxing… LP is back on wax! Psychedelic stoner rock is always in ‘high’ demand, but very few stoners are wil- ling to shell out a half-ounce worth of dough for a record. The original pressing of The Heads 1996 debut LP still fetches that amount, even since Rooster brought it back from the grave. And for good reason. It may sound hyperbolic, but fans of
on Permanent for years. Kudos to the venerable and deserving S-S Records for securing the rights.
shit & shine Jream Baby Jream, LP
(Riot Season)
LITERALLY, TRAFFIC STOPPING jams, right here. The first time the needle was dropped on Jream Baby Jream a 3-car pile-up occurred on the street in front of the Chicago Permanent storefront. If you’re already familiar with the nutation inducing qualities of previous Shit & Shine records, you’ll find a lot to love on Jream Baby Jream. If this is the first you’ve heard of this wonkily, hypnotic Texas/London experimental throb collab, you’re too late to score any of their previous records (all OOP), but (as of this writing) not too late to own one of their best yet.
Lance Barresi: [email protected]; or go to permanentrecordschicago.com
the greatest in the genre (Loop, Spacemen 3, etc) and their influences (Hawkwind, Stooges, etc) will absolutely love this working class trip.
sunfLaRe Ghetto Blast, LP (Bat Shit)
THE SUN IS HOT, but Sunflare is scorchin’. Buy-er beware: this Ghetto Blaster will surely fry the circuits on your vintage boom box. This block party clearer con- tains exactly two side-long, blown-out, heavy psychedelic noise rock jams. Any more would require a surgeon gen-eral’s
warning. Victims of previous face melting accidents brought on by frequent listening of Les Rallizes Denudes, Puffy Areolas, High Rise, Monoshock (or any current Monoshock psy-chedelic side-project) may have found their cure. Put this record on, hang upside down, and watch your face melt back into place.
Monoshock Walk To The Fire, 2xLP(S-S)
LIKE MANY OF THE GREATESTrock groups of all-time (Stooges, Velvet Underground, Brainbombs? (yes, Brainbombs)), Monoshock were largely ignored during their tenure. Those who dug ‘em, dug ‘em hard. Those who didn’t now claim to have dug ‘em just as hard. Many of the best underground psych/punk/noise rock groups of today were influenced by Monoshock and thanks to S-S their sole, long out-of-print 1996 double LP will have another chance to blow minds this summer. I’m stoked for them. I tried my darndest to get Monoshock to reissue this record
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BY JOEL BELLMAN
THE PAST IS NEVER dead,”William Faulk- ner wrote, “It’s not even past.”
I beg to differ. A significant part of my past is dead, buried, never to be ex-humed and resuscitated. Missed, mourned, lost, lamented, cer-tainly not forgotten. But gone, baby, gone.
I read recently that a young filmmaker has gone public to plead for funding to complete his documentary Rhino Resurrected, an earnest and reverential attempt to evoke and recapture the spirit that animated the celebrated Westwood record store. I saw the rough cut he screened at a local art house last summer, and it wasn’t bad. His fundraising window has only a couple of days left to run, and I wish him luck. I hope he finds his audience. But really telling that tale will be harder than capturing lightning in a bottle.
Let me offer a personal chapter you won’t be seeing in that film: my three-year stint
working at the Rhino Records sister store out in Claremont, about 60 miles east of the uber-hip Westwood location. Not exactly a canny career move for an aspiring journalist marking time between college and grad school, I grant you. But in some ways it wasn’t that different than what I trained to do, and what I’ve done in every job I’ve had for the last 30-plus years. Spreading knowledge. Hipping people to what’s happening. Trading information. Learning new things. Championing the underdog. Arguing endlessly with genuine passion.
I wouldn’t trade it for anything.“Happy to be a part of the
industry of human happiness,” Andrew Oldham’s Immediate Records label used to boast. Well, I certainly was. Back in the day — especially in a college town like Claremont, where I grew up — the record store in The Village downtown seemed like the coolest place around. With seven private universities within walking distance, we
Rhino Records Resurrected
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Psych, Punk, Garage, Surf, Post-Punk, New Wave, Reggae, Blues, Jazz, etc.Shoegaze • Brit Pop • 4AD • Creation • Sarah Records
left of the Dial records1065 Pacific Coast Highway, Seal Beach, CA 90740
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Back in the day: The Ramones with Rhino Records’ founder, Harold Bronson, at the flagship store in Westwood.
36 | RCN WWW.RECORDCOLLECTORNEWS.COM
rarely lacked for customers. They were smart, eclectic, and as besotted with music as we were.
What a gig! Sit around in a rock t-shirt and jeans all day playing whatever records we wanted, hanging out, spewing opinions, and getting paid for it! I still can’t believe it.
But like I said: Dead. Past. Gone.
I don’t remember when I first discovered the place; it opened in 1974 or 1975, a year or two after its more famous Westwood counterpart. The original location on Second Street (directly next door to the police station!) was barely larger than my living room today. Tiny two-person counter, manned by a taciturn young guy and his wife. Cash box. Little carbon note pads to write up the orders. Credit cards? Forget it. Checks? Each one had to be called in to a credit service individually, the bank routing number read aloud, and cleared. Modern retailing, it wasn’t.
Inventory, maybe a couple thousand LPs. But what albums they were! British and European imports. Out-of-print and overstock cut-outs. Deep catalogue stuff, not just the latest releases. Obscure jazz and blues reissues of uncertain provenance. Used and promo copies (price tags plastered, hilariously, on top of the “Promotional Copy - Not for Sale” sticker). This wasn’t your parents’ Wallich’s Music City.
Did I mention the bootlegs? Live concert recordings, outtakes, unreleased studio sessions, out-of-print B-sides — many featuring superb covers by William Stout, today a recognized master of commercial and fine art - they were a record geek’s delight. For pop music acolytes, the place was a holy shrine. And about as anti-corporate as it was possible to be while still turning a decent profit.
So when Rhino finally outgrew its space and decided to relocate
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We’ve Moved AcroSS the Street!to larger quarters a block away on Yale Ave., I was astounded when the taciturn manager offhandedly offered me a part-time job. Summer of ‘77, I’d just graduated college with a degree in communications, desperate to become a radio journalist, and no job in sight.
I took it.The pay was modest — the
first day, my wages included a second-hand copy of Neil Young’s American Stars ‘n’ Bars — but I would gladly have paid them for the privilege. If there was ever a dream job, that was it.
If you remember the film High Fidelity, that was us. Yes, we, too used to run people out if we didn’t like their music, like the poor fellow who came in one day looking for a Village People album. “We don’t carry that kind of stuff,” I sneered. “Why don’t you try The Wherehouse.” And if they ever argued with us about our trade-in appraisal — they were dead. We almost bodily threw one grumbler out of the store — to the lusty cheers of the other patrons.
Now if, on the other hand, you came in looking for Kevin Coyne, or Kraftwerk, or Holly Near, or virtually any pub-rock, punk, New Wave, progressive rock, minimalist jazz or ‘50s and ‘60s reissue compilations — you were our kind of customer. It really was like a family. And Amazon algorithms that today cheerily inform us, “People who bought this also bought these” really can’t compete with the human factor when it comes to sussing out the needs and wants of the discriminating record buyer.
There was the dapper little guy who dropped by every few months and collected only soundtrack albums — we’d always stash the rare trade-ins for him, which he’d delightedly snap up. One day he showed up, and handed me a mint copy of an impossibly rare import pressing of Pino Donaggio’s score for “Don’t Look Now,” which he remembered I’d been looking for. “That’s just to say thanks,” he said. Another regular customer — a bluegrass and folk fan — appeared one Saturday and handed me a paper bag. Inside were mint copies of two out-of-print John Fahey albums I’d once mentioned to him. “For you,” he said simply. And I still fondly remember the older guy with the duck’s ass haircut whose face lit up when I handed him a copy I’d found for him of a rare Coasters anthology with “Idol With the Golden Head” that he’d been searching for since his high school days back in the ‘50s.
One Saturday morning, I’d just opened and the store was still empty when a kid wandered in with an old Beatle album he wanted to trade in: Yesterday and Today — the first pressing, with the notorious pasted over “butcher cover” I’d only heard about but never before seen. Another Saturday morning, the singer Iggy Pop unexpectedly walked through the door, joined by one of his former bandmates in the Stooges who’d become a friend of one of my co-workers. Among our other customers, a young Ben Harper, whose grandfather founded the legendary Folk Music Center across the street that today Ben owns.
I worked at Rhino part-time and then full-time for two years, and when the manager who’d hired me left to take a job with a record company, I took over. But by then, I already knew that my record store days were numbered. I’d enrolled in graduate school, had ramped up my writing, and soon landed the radio internship I’d long been seeking. When it turned into a paying gig in another radio news department
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Among our other customers, a young Ben Harper, whose grandfather founded the legendary Folk Music Center across the street.
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in Los Angeles, I quit the store for good and moved west to be closer to school and the job.
Rhino grew from a couple of stores into an independent record label, and eventually into a major-label division that set a global standard for high-quality archival reissues. But the big wheel keeps on turning, and eventually the label’s founders were bought out, the division downsized, and the business
version of a minor R&B favorite of mine by Big Sambo and the Housewreckers. I may be nuts, but I’ve got at least a dozen stories like that.
In today’s world, when virtually any song anyone’s ever heard of can be streamed and downloaded within seconds, legally or otherwise, most music fans would surely find such behavior unfathomable, if not psychotic. How can a little scrap of plastic with a hole in the middle in a paper sleeve or cardboard jacket possibly mean that much to anyone?
But once upon a time, there was magic in those grooves. And for those of a certain age, they cast a spell that still enchants —and always will.
Joel Bellman, formerly an award -winning radio reporter and editorial writer for the Los Angeles Herald Examiner, is a journalism instructor at UCLA Extension and the communications deputy for county Supervisor Zev Yaroslavsky. Reprinted from the LA Observed, “Native Intelligence” blog.
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increasingly migrated into little more than digital downloads. The old business model has almost entirely collapsed, and the retail music store is today virtually obsolete.
I never again worked in any aspect of the music industry, or ever wanted to. But my passion for music - and my vinyl addiction - have never abated. My voluminous record collection has survived intact one divorce and half a dozen moves. Those long, lazy days I shared with my
fellow employees — Mark and Linda, Jeff, Karen, Eva — are among my most cherished.
There was a time when it took me more than 30 years to
hunt down another copy of the obscure British 45 I once briefly encountered in a dusty little record shop on a back street off Caledonian Road in North London on my first trip to the UK. Another time, it took several miles of walking through some pretty dicey New Orleans residential neighborhoods far from the tourist-friendly French Quarter for me to finally locate a rare original local-label
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How can a little scrap of plastic with a hole in the middle in a paper sleeve or cardboard jacket possibly mean that much to anyone?
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BY ARMAND LEWIS
IN THE LAST DECADE, THERE has been a steady stream of “new releases” by major jazz artists who are no longer
with us. Often, these CDs consist of poor quality recordings of club performances; resulting in the inferior sound quality one would expect from such situations. But occasionally, when the recording itself is as good as the artist’s performance, the results can rank with the best albums released during the artist’s lifetime.
While attending Columbia University in the 1960s, recor-ding engineer George Klabin also served as Director of Jazz Programming for station WKCR-FM in New York, where he would often record jazz artists at local venues for his radio show. These professionally recorded tapes were aired only once and then stored away all these years. Now, some of them are finally being released on Klabin’s Resonance Records label — which has just released an extremely rare 1968 performance from pianist Bill Evans.
At what turned out to be a unique moment to record the pianist, Bill Evans – Live at Art D’Lugoff’s Top of the Gate (Resonance HCD 2012) catches Evans right after one of his trio’s periodic changes in personnel. Just weeks before this recording was made, Evans had recruited drummer Marty Morell after losing Jack DeJohnette to Miles Davis. This trio featuring Morell would be the longest lasting of any of Evans’ groups. A perfect fit for Evans, Morell would work with the pianist for the next six years — providing a clean
Bill Evans: At the Top of the Gate
BEBOP & BEYOND
straight-ahead rhythmic anchor to the melodic interplay between the pianist and his long time bassist Eddie Gomez.
The two CD package — each disc presenting one of the two sets performed that evening - was recorded in the upstairs restaurant above the legendary Village Gate club in New York. Evans was always at his best live and his melodic treatments of “Round Midnight” and “Emily” as well as his propulsive rendition of “Yesterdays” allow for a rich level of musical invention that Evans and his band mates easily sustain over multiple performances. These three compositions must have been part of the trio’s then-current repertoire as they were in fact performed during both sets. Listeners may want to play the two versions of each tune back to back to hear the depth of sustained musical creativity the trio brings to them.
The biggest surprise for lis-
Pianist, Bil Evans.
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teners not familiar with Evans’ ability to reinterpret a compo-sition is his rich introspective rendition of “California Here I Come” Stripping out the brash, tin pan alley aspects normally associated with the tune, Evans keeps just the barest hint of the original melody, filling the performance with extended passages of musical invention one would not think possible from the source material.
Other tunes that will be more familiar to Evans fans include “My Funny Valentine,” “Turn Out the Stars,” “Someday My Prince Will Come” and “Autumn Leaves,” which provides bassist Eddie Gomez with his best extended solo of the evening.
Made using multiple microphones, the recording itself has the sound of a professional studio session. With the mikes placed very close to the instruments, though not close enough to distort, the music was captured with clarity, presence and (very important for a Bill Evans recording) a surprising minimum of background and room noise.
The CD booklet features rare photos of both the musicians and the club itself as well as extensive liner notes, including reminiscences by Gomez and Morell. Also available in a deluxe vinyl edition, this package is not only an essential release for Bill Evans collectors, but also a complete document of a moment and a place in jazz history.
armand Lewis buys and sells rare jazz LPs. he can be reached at [email protected]
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reCorD show CalenDar RecoRd shoW caLendaRCalendar listings are free and on a space available basis. Unsolicited materials cannot be returned. Please contact conventions to verify information! Send calendar listings to [email protected].
SATURDAY SEpTEMbER 1Upland CA. The Penny Lane Record Swap. 1551 W. 13th St. #107. 10am-4pm Free. 909-982-1212
Hollywood, CA. Beta Records 80-90s dance, hip-hop, electronic, progressive rock and indie records sale. 1350 N. Highland Ave. Free. 310-999-22328
SUNDAY SEpTEMbER 2pasadena, CA. Pasadena City College Flea Market and Record Swap. 1570 E Colorado Blvd. Pasadena. 8am-3pm. Free admission. Parking $2
SATURDAY SEpTEMbER 8Upland CA. The Penny Lane Record Swap. 1551 W. 13th St. #107. 10am-4pm Free. 909-982-1212
SUNDAY SEpTEMbER 9
San Francisco, CA. KUSF.org Rock n Swap. University of San Francisco McLaren Hall, 2130 Fulton St. $3 7am-4pm. 415-386-5873
SATURDAY SEpTEMbER 15
Upland CA. The Penny Lane Record Swap. 1551 W. 13th St. #107. 10am-4pm Free. 909-982-1212
SUNDAY SEpTEMbER 16
Claremont, CA. KSPC CD and Record Expo. Smith Campus Center Ballroom, 170 E. 6th St. 10am-4pm. $2. 909-621-8157
Vancouver, bC. Fall 2012 Vancouver Record & CD Swap Meet. Croatian Cultural Center, 3250 Commercial Dr. $3. 11am-5pm. 604-324-1229
Long beach, CA. Alex’s Record Bar & Vinyl Swap (Every 3rd Sunday) Alex’s Bar, 2913 E Anaheim St. No Cover. 12-6pm. (714) 404-7568, [email protected]
SATURDAY SEpTEMbER 22
Upland CA. The Penny Lane Record Swap. 1551 W. 13th St. #107. 10am-4pm Free. 909-982-1212
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Oakland, CA. Beat Swap Meet Bay Area. Oasis, 135 12th Street. $5 with Canned Good. 12noon-6pm. (415) 283-5616, [email protected]
SATURDAY SEpTEMbER 29
Upland CA. The Penny Lane Record Swap. 1551 W. 13th St. #107. 10am-4pm Free. 909-982-1212
SUNDAY SEpTEMbER 30
buena park, CA. Greater Orange County Record Show. UFCW Union Hall – 8350 Stanton Ave. $3. 10am-3pm. 626-963-9717
SATURDAY OCTObER 6
Upland CA. The Penny Lane Record Swap. 1551 W. 13th St. #107. 10am-4pm Free. 909-982-1212
Las Vegas, NV. Beat Swap Meet Night Edition. District, 1775 E Tropicana Ave. $5 with Canned Good. 6pm-12midnight. (714) 404-7568, [email protected]
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pasadena, CA. Pasadena City College Flea Market and Record Swap. 1570 E Colorado Blvd. Pasadena. 8am-3pm. Free admission. Parking $2
SATURDAY OCTObER 13
Upland CA. The Penny Lane Record Swap. 1551 W. 13th St. #107. 10am-4pm Free. 909-982-1212
SUNDAY OCTObER 14Seattle, WA. Northwest Record & CD Convention. Seattle Center. Seattle Center Shaw Fidalgo Rooms. $3. 10am-4pm. 206-850-2162
SATURDAY OCTObER 20portland, OR. Night Owl Record Show. Eagles Aerie, 4904 SE Hawthorne St. $2. 5pm-9pm. 503-284-4828
Upland CA. The Penny Lane Record Swap. 1551 W. 13th St. #107. 10am-4pm Free. 909-982-1212
SUNDAY OCTObER 21LA, CA. Blackmarket Swap Meet at Headline Records. 7706 Melrose Ave. FREE. 12-8pm. 323-455-2125.
Newark, CA, The Newark Music Swap Meet. Newark Pavilion, 6430 Thornton Ave. $3.50. 8:30am-1pm. 408-263-5127
Long beach, CA. Alex’s Record Bar & Vinyl Swap (Every 3rd Sunday) Alex’s Bar, 2913 E Anaheim St. No Cover. 12-6pm. (714) 404-7568, [email protected]
FRi. OCT. 26 – SUN. OCT. 28Austin, TX. Fall 2012 Austin Record Show. North Austin Event Center, 10601 N Lamar. $5. 10am-5pm. 512-288-7288
SATURDAY OCTObER 27Upland CA. The Penny Lane Record Swap. 1551 W. 13th St. #107. 10am-4pm Free. 909-982-1212
SUNDAY OCTObER 28buena park, CA. Greater Orange County Record Show. UFCW Union Hall – 8350 Stanton Ave. $3. 10am-3pm. 626-963-9717
LAKE CITY RECORD SHOWSUNDAY, NOVEMBER 18, 2012 • 10AM-4PM
Albums, 45’s, 78’s, Sheet Music, Memoribilia, 8-tracks, Posters, etc.
• Top Dollar Paid!• I will Travel to You to Purchase Your 1920’s – 1960’s Collectible Records
My name is John Tefteller. I have been buying and selling rare records for the past 30 years. I have the world’s largest inventory of Blues, Rhythm & Blues and Rock & Roll 78’s with over 100,000 in stock. I also have over 100,000 45’s from the 1950’s and early 1960’s. I have a worldwide reputation for my knowledge of rare records. I am always inter-ested in buying more rare records! I make regular buying trips to the Los Angeles area. If you make a big score on records, I can be there in just a few short hours! Before you sell your rare records to ANYONE, you should at least talk to me. I consistently pay the highest prices for records for my collection and am more than fair when buying for resale.
