Red House Painters’ First Four LPs: The Holy Grail of 90s Indie?
One of the most revered bands of the 1990s “slowcore”/dream pop movement (really just atmospheric, slow, sad, twinkly songs), Red House Painters dropped a limited box set of their out-of-print first four records for Record Store Day 2015.
The box set was a one-time pressing of 1500 numbered copies worldwide. It’s technically self-titled, and contains the entirety of their output for the record label 4AD. These four records were originally released between 1992 and 1995 and include Down Colorful Hill, Red House Painters (Rollercoaster), Red House Painters (Bridge), and Ocean Beach, which was changed to a double 12” to include the Shock Me EP from the previous year.
At the time I write this, it’s going for about $300 on Discogs.
Chris Bigg, who designed much of 4AD’s album artwork, did an entire new design for the package. It comes on bronze colored vinyl with high-quality digital download codes. These records haven’t been pressed on vinyl in 20 years, and were a pretty hyped item for RSD 2015 (4/18).
After the success of the set, 4AD announced that all four of the records will be re-pressed individually on standard black vinyl in the future.
The first record, 1992′s Down Colorful Hill, is a pretty far cry from Mark Kozalek’s later folk epics. It’s a repackaging of the band’s demos. It’s still a stunning debut from a band who was incredibly solid from the start. The songs are stark and intense, maybe more than anything that followed. They feel like they go on forever and never let up, ruminating on subjects like aging, like in “24,” which is told from the perspective of someone at that age.
The second is 1993′s self-titled effort, often called Rollercoaster from the image on the cover. The band hit their stride here, and crafted some of their most memorable songs. “Katy Song” and “Things Mean a Lot” capture heartbreak and sorrow in the most direct way possible, while still maintaining a similar, lengthy style.
The third, their second self-titled, is called Bridge because of the cover image. It was recorded at the same time as Rollercoaster, but released later due to length. It feels a bit like outtakes that weren’t quality enough for the first record, but RHP outtakes are still better than most everything else. It also contains covers of "I Am a Rock" by Simon and Garfunkel as well as “The Star-Spangled Banner,” which begin to show a lighter sider to the band as well as their sense of humor.
Lastly, 1995′s Ocean Beach is another classic. It feels lighter and more streamlined than previous efforts, and like Kozalek may have lightened up a bit about love. The arrangements are more intricate and folk inspired, which is the sound that Kozalek took with RHP and later with his mostly solo effort Sun Kil Moon. It’s a welcome sound after three albums of some of the most emotionally intense music of the decade.
It’s great to see these albums get the vinyl treatment to reach a new generation and allow them to hear these classics in their full glory. Hopefully 4AD follows suit with other gems in their incredible late 80s/early 90s run.
Jonathan Schroeder, William A. Kern Professor of Communications at Rochester Institute of Technology, has a career of research in how visual media moderates and develops society. He also has a really, really great record collection.
Schroeder puts a record on at home while his partner Janet Borgerson reads nearby.
He joined RIT’s Department of Communication in 2010 after spending time at universities in Michigan, California, Rhode Island, the UK, and Sweden. He’s been collecting records for much longer, since he was a teenager. He combined his collection with that of his partner Janet Borgerson twenty-some years ago, and they have continued to build an archive of over 3200 LPs alongside countless other vinyl formats, books, and posters. Borgerson also began collecting records as a teenager, but her years living around the corner from St. Vincent DePaul in Madison, Wisconsin saw the sparking of her “cool and strange" category, including “How to Have a Perfect Dinner Party.” They even hang onto a solid stockpile of CDs.
Another angle of Schroeder and Borgerson’s vinyl room.
This collection spans many genres, from classical and “world” (international genres of all kinds) to rock/pop and electronic. He has a significant collection of punk and new wave. The records have come from all over the world, some of them incredibly rare and limited. They’ve perused record stores and second-hand shops on several continents. Favorites include Encore Records and Wazoo Records in Ann Arbor, MI, Jerry’s Records in Pittsburgh, PA, and the famous Amoeba Records and Rasputin Music of California.
They devote an entire room in their home to housing this collection, with two entire walls shelved out with the records arranged binding outward. The wooden room has great acoustics for his and Borgerson’s high-quality sound system, which fills the space with warm, rich sonic waves. The room also holds mid-century furniture, music books, and some of their poster collection, comprising live shows from the various locales they’ve lived in. It’s a pretty solid place to fully absorb the vinyl listening experience, which I got to do on a rainy Sunday evening.
Just some of the many shelves of organized vinyl in the collection room.
Schroeder's scholarly research revolves around three main questions: “How does visual communication create value? How can we understand the cultural aspects of brands, consumption, and communication? What is the relationship between strategy and style?” He seeks to understand and explain consumer behavior and its relationship with images.
Borgerson works at the intersections of philosophy, business, and culture, often developing insights from film and art history. Her research engages notions of materiality and intersubjectivity. She is currently a Visiting Scholar at City University, London.
The couple have been working on a book for the past couple years, possibly to be published by The MIT Press, called Design for Hi-Fi Living: The LP in Mid-Century America. The book will focus on the design and message of the mid-20th century LPs that make up a large portion of their collection, and that they are particularly interested in as culture producers with influence that lasts through present day. It will focus on two different types of records from this era.
The first will be “travel” records designed to give a distinctly American perspective on the rest of the world, which Americans were beginning to have more access to. These were designed by the often white, rich American record labels to show people how the rest of the “exotic” world worked at the time, from Hawaii and Latin America to Eastern Europe and Southeast Asia. They weren’t exactly accurate, but they were the first tastes that many Americans got of far-off places that had previously been much more mysterious. This was a new period of cosmopolitanism, and these records can be looked at in a sort of commercial ethno-musicology way. A highlight of their “travel” records collection is producer Dave Dexter’s (famous for issuing Beatles records to American audiences) “Capitol of the World” series from Capitol Records with albums from at least twenty-five countries, like the Belgian Congo, Egypt, Chile, and Argentina.
They have over 500 mid-century Hawaiian records alone. This is a local highlight: “Authentic Music from the Kodak Hula Show.”
Another, more radical highlight from their “travel” records: A French-pressed Palestinian resistance folk songs record.
The second will be “home” records that instructed the newly suburban American population how to behave properly while in their new living situations. These include how to plan different types of dinner parties, how to please your spouse in a variety of manners, and how perform other domestic tasks that lent to this burgeoning way of safe, secluded post-war life.
Two selections from their “home” records: one more tame, the other more “exotic.” Belly dancing was a common theme that bridged the “home” and “travel” records.
These records were the primary forms of cultural communication of the time, long before TV’s influence was strongest, and before blogs and podcasts taught people how to travel, cook, clean, and entertain. In a way, they are pre-cursors to cooking shows and home-decorating blogs.
Schroeder and Borgerson have collaborated on a number of posts for the “Global Hub for Thinking About Things” blog The Material World. Here is a post about the aforementioned “home” records, and one about the aforementioned “travel” records. Along those same lines, here is one about packaging the South Pacific identity, as well as one about their other collection, Peter Pauper Press books.
Look out for more news about their book!
Bonus: an old record designed to score the crafting of Rochester Institute of Technology.
Bonus #2: a copy of the pulp novel that the band derived their name from!
In a lot of ways, The Velvet Underground’s second self-titled LP, from 1969, represented their rebirth as a band. Last November’s reissue, The Velvet Underground: 45th Anniversary Super Deluxe Edition, does it more justice than ever.
(A still taken from this Youtube video of The Velvets live at The Boston Tea Party on Jan. 10, 1969)
The reissue, which arrived November 24th, 2014, was the third time in three years that Universal/Polydor reissue a Velvet Underground album as a 45th Anniversary super deluxe edition box set. It followed 2012′s The Velvet Underground & Nico and 2013′s White Light/White Heat. The new one was originally released in March 1969.
The album, the third for the legendary and massively influential NYC band, was the first with co-founder John Cale absent. Cale was an integral member for the group’s first two albums, providing much of the experimental edge to the band. He was replaced by Doug Yule of the Boston band the Grass Menagerie in late 1968, following a period of creative disagreement between Cale and other bandleader Lou Reed. This was the start of a new era, following the previous departures of manager Andy Warhol and collaborator Nico.
Photo taken from The Velvet Underground’s official site, advertising the reissue.
This new box set contains six CDS, featuring two different stereo mixes of the record, including Lou Reed’s own "Closet Mix" and a promotional mono mix. The fourth disc contains ten previously unreleased mixes, including “Andy’s Chest,” which was re-recorded for Lou Reed’s solo album Transformer as well as other songs that were re-recorded for the fourth and final Velvets album, Loaded.
This album presented a new sound for the Velvets, much softer, emotional, and folk-inspired than the first two records. The storytelling was on point, and Reed was clearly fed up with his band being the experimental art project that it had been up unto this point. The songs were streamlined and had less of the cacophonous noise that defined the first two. In this sense, it was like waking up to morning of reflection after a night of fever dreams.
The album’s cover, photo taken by Billy Name, artist and archivist with the Andy Warhol Factory from 1964 to 1970.
The set also includes eighteen live tracks, eleven of them unreleased, from two shows at San Francisco’s The Matrix. These shows were compiled and mixed from the original 1969 recordings made by club manager Peter Abram. These show the band, who weren’t popular at the time, playing to small crowds and still attempting to spread their sound, which had become somewhat more commercial, from coast to coast.
“Hot Mayonnaise are just four dudes who worship Rock ‘n’ Roll and love to party!”
(All photos by Rafael Alvarado)
I spoke to Jorge Alvarado, the singer of Hot Mayonnaise, Rochester, NY’s premier rock band. They recently recorded their debut album, Heavy Moments, to be released in the near future by Reel Time Records.
The band consists of Skip Taylor on Vocals/Drinkin’, Johnny Watkins on Guitars/Drinkin’, Donny Watkins on Bass Guitar/Drinkin’, and Reginald “Bunny” Hopkins, on Drums/Drinkin’ and chain smokin’.
They list their influences on the band’s sound as “Alice Cooper, Blue Öyster Cult, MC5, The Stooges, Judas Priest, Jim Dandy, The Rolling Stones, Motörhead/Lemmy, leather boots, bathroom parties, beer, ladies, fast cars, motorcycles, and drugs.”
So far, they’ve been on two small weekend tours covering some of the east coast. This upcoming summer, they have a two week tour in July to support the new album. Many more shows will come after the summer.
Heavy Moments was recorded February 10-12, 2015, at the Main St. Armory in Rochester. The album was influenced by “alcohol /drugs, women, lots of Alice Cooper, late night parties, Sticky Fingers by The Rolling Stones, milk, Tyranny and Mutation, shitty jobs and way too much snow.” Their only previous release was the Bathroom Tapes, Vol.1.
A video posted by Hot Mayonnaise (@hotmayonnaisemusic) on Jan 21, 2015 at 6:36pm PST
Hot Mayonnaise live at the Bug Jar.
The band plays Monty’s Krown in Rochester this Thursday, 5/7, with Hollywood’s Hammered Satin and locals Danger Troll for $5. Other dates can be found on their Facebook page here.
Part 2: My 25 Favorite Records of 2014 (non-metal)
As a sequel to my previous post, here are my 25 favorite records from 2014 (excluding metal, it seems strange to me to compare). Like I said previously, now that we have a few months of 2015 under our belts, we can compare it to 2014, a year that had some pretty great records. Most of my favorites were from newer acts- there’s hope for new music!
25. Raspberry Bulbs - Privacy
The third album from this Brooklyn band is their most fully-formed yet. Blackened-post-punk-garage-goth-and-roll. The production and feel still have that lo-fi black metal tinge, but this is vicious music with soul.
24. Wovenhand - Refractory Obdurate
This long-running American neofolk band has embraced American roots music of all kinds. On their most recent, they turn their sights higher, mining 80s post-punk alongside their introspective folk.
23. Arca - Xen
The Venezuelan-born producer has only been active a few years but has already produced for Kanye West, FKA twigs, and Björk. His solo debut brings fractured, genre-mashing electronic music that creates a surreal soundscape.
The NYC band with Texas roots released two great records this year under different names. Clever lyrics and wiry guitars make driving rock songs about modern urban life.
21. Ought - More Than Any Other Day
Montreal-bred young band create Television-like political guitar songs on their debut. Endearing, hopeful, and bright.
20. The Horrors - Luminous
The British band go bigger than ever on their fourth record. The title of the record pretty much sums up the sound. The Stone Roses or Happy Mondays-style dance songs through a huge shoegaze filter, still keeping darker undertones.
19. Cult of Youth - Final Days
Fourth and best yet album from Brooklyn neofolk band, harkens the end times with riotous chamber-punk songs.
18. Thee Silver Mt. Zion Memorial Orchestra - Fuck Off Get Free We Pour Light on Everything
The long-running Montreal project with members of Godspeed You! Black Emperor kicked off the year back in January with this record of climactic instrumentals and impassioned, preaching vocals.
17. Dirty Beaches - Stateless
The final album from wandering musician Alex Zhang Hungtai’s project under this name. Again, the title approximates the music on the record: hopeful, floating, ambient, meditative songs on permanence and the notion of “home.”
16. Marissa Nadler - July
Beautiful, heartbreaking ghost-folk from Boston. Poetic songs that add a gauzy filter over Leonard Cohen or Joni Mitchell.
15. Pharmakon - Bestial Burden
Margaret Chardiet’s second album of post-industrial cathartic noise, this time about feeling disconnected from one’s body.
14. Ariel Pink - Pom Pom
His first solo album in a while (even though several Haunted Graffiti members play on it) bring his insane vision of Hollywood, music, and pop culture further than ever.
13. Protomartyr - Under Color of Official Right
Detroit post-punk heroes craft their second album around singer Joe Casey's towering vocals. Dark anthems of urban decay.
12. FKA twigs - LP1
Amazing British R&B singer explores realistic human themes of sexuality and relationships over pulsing, splintered production.
11. Andy Stott - Faith in Strangers
Manchester producer’s most recent continues his trajectory of dub, skittered techno, and ambient noise.
10. Aphex Twin - Syro
90s electronic hero arrives back after a decade like he never left. Melodic and meticulous, as good as anything he released in his heyday.
9. Angel Olsen - Burn Your Fire for No Witness
Electric folk from this newer artist from Asheville, NC. Longing songs about loneliness and relationships and everything in between.
8. Sharon Van Etten - Are We There
This Brooklyn songwriter explores the everyday realities that make relationships meaningful.
7. Grouper - Ruins
Liz Harris’ most intimate album yet, comprising mainly just her voice and piano. She said it’s about “living in the remains of love.”
6. Total Control - Typical System
Melbourne, Australia five-piece inject new life into post-punk tradition and make it sound more vital than ever.
5. Sun Kil Moon - Benji
Mark Kozelek’s most recent brings his knack for storytelling to the forefront. Simple melodies and complex tales from throughout this musician’s life.
4. Ben Frost - A U R O R A
At times harsh, and at times serene, this Icelandic producer knows how to capture dynamics and energy. Heavy and beautiful.
3. D'Angelo and The Vanguard - Black Messiah
It feels strange to even compare this one to the rest, but this comeback album is full of more impassioned soul and righteous anger than anything previous.
2. Swans - To Be Kind
This 35-year old band show no signs of slowing down, crafting huge, ugly songs that explore existential topics.
1. Iceage - Plowing Into the Field of Love
Copehagen’s young punk heroes slow down the songs and make swirling folk epics about being young and frustrated.
Tonight was the fourth annual Rochester Music Hall of Fame, in which hometown musical heroes of all kinds are honored for their outstanding careers.
The stage of the Kodak Hall at Eastman Theatre, where the ceremony took place.
The idea for the Rochester Music Hall of fame originated in March 2009 in an editorial that ran in the Democrat and Chronicle by local musician Karl LaPorta. He wanted a place where local musicians and their accomplishments could be honored and Rochester’s musical history could be celebrated. The first ceremony took place in 2012. The event now happens annually, in the Eastman Theatre in downtown Rochester.
The chandelier that hangs over the beautiful Kodak Hall, which opened in 1922.
Eastman Theatre’s lobby.
Tonight’s additions spanned several genres, showcasing how rich the musical landscape of Rochester over the past 75 years has been. Several prominent local figures gave introductions, including Mayor Lovely Warren and Congresswoman Louise Slaughter, who said “Our differences dissolve in the presence of music... Art doesn’t need to apologize to anyone for anything.”
First up was Ron Carter, a jazz bassist who was part of Miles Davis’ mid-sixties group. He has played on over 2,500 other recordings over the past 60 years. He has worked with jazz legends Chico Hamilton, Wayne Shorter, and Herbie Hancock, as well as pop musicians like Billy Joel and Paul Simon.
Next was William Warfield, a bass baritone concert singer and star of stage, film, and television. He was a graduate of Eastman School of Music and is best known for his rendition of “Ol’ Man River” in the 1951 film Show Boat.
Third was Gap Mangione, a prolific jazz pianist and bandleader whose 1968 album Diana in the Autumn Wind has been sampled many times by contemporary rappers and producers.
A very blurry shot of Gap Mangione playing at tonight’s show.
The next award given was to Henry Juszkiewicz, a Rochester native who is the CEO of Gibson Guitars, one of the most renowned guitar makers of all time. He is credited with saving the company from extinction when he purchased it in the mid-1980s. He brought a Gibson bus with him to tonight’s show, in which attendees could try their hand with various guitars.
The Gibson Guitars bus parked outside Eastman Theatre.
Last but not least, Wilmer Alexander Jr. and the Dukes closed out the show and received the final award of the night. They were a 1960s R&B act that were once the area’s top party act. They’re best known for their 1968 hit “Give Me One More Chance.”
I spent the holiday (Saturday, 4/18/15) at one of the best local shops, The Bop Shop, located at 1460 Monroe Ave. in Rochester, NY.
The shop had a plethora of events happening all day. They recently acquired the record collection of the late Doug Meech, original drummer for Rochester’s garage rocking legends Chesterfield Kings. The band formed in 1979 and continued for four decades with their 1960s, Stones-influenced sound. In honor of RSD15, the shop was offering the opportunity to purchase from this expertly curated collection of over 3,500 LPs in excellent condition. The collection was full of out-of-print collectors’ items.
Record buyers peruse the rows in the collection of the late Doug Meech in The Bop Shop.
They also had free coffee tasting from Rochester’s Fuego Coffee Roasters and afternoon beer tastings from Three Heads Brewing and Brewery Ommegang.
Live music included locals Pleistocene, Howlo, Sam Snyder, The Years, and the Wayouts.
Howlo playing live. Full song video below:
We spent way too much money on records. Here are a couple of scores:
A photo posted by brandon artz (@brandyartz) on Apr 19, 2015 at 9:37pm PDT
Now that we’re a couple of months into 2015, it’s a good time to look back at 2014. I feel like it was a pretty decent year for metal! There were absolutely over 25 records that I thoroughly enjoyed and listened to repeatedly, but 25 seems like a good number to digest. I had typed this list up previously, but not shared it on the Internet, so here it is. The year had tons of industry vets and returning champions making stronger and fiercer records than ever alongside numerous hopeful upstarts making their savage mark in the metal realm.
25. Indian - From All Purity
Chicago’s veterans of sludgy doom-noise return with their strongest, most focused, and bleakest offering yet.
24. Impetuous Ritual - Unholy Congregation of Hypocritical Ambivalence
Blinding blur of harsh noise and blackened death with verbose song titles that could only come from members of Australia’s finest purveyors of the macabre, Portal.
23. Horrendous - Ecdysis
Melodic and nearly psychedelic death metal that crosses At the Gates, Cynic, and Morbid Angel from this newer Philadelphia band. Sprawling songs that are all over the place.
22. Morbus Chron - Sweven
Old-school Swedish death metal with progressive tendencies in this Stockholm band’s second album. Wide range of styles from doom to creepy death to King Crimson-like prog.
21. Mutilation Rites - Harbinger
Filthy, yet epic, guitar-heavy blackened death on this young Brooklyn band’s second album. A more honed approach than their first, where rough production contrasts nicely with cleaner songwriting.
20. Krieg - Transient
This US black metal band has been around for nearly 20 years and this release likely tops their expansive discography. Punk-ish, moody black metal with impassioned vocal performance.
19. Lantlôs - Melting Sun
These German innovators had Neige of Alcest fame in their ranks until 2013, when they very politely parted ways. Their newest offering is their most streamlined yet, not suffering from Neige’s absence. Sparkling, flowing post-metal that wouldn’t sound out of place alongside Jesu (or Alcest).
18. Wreck and Reference - Want
Desolate, minimal, dark post-metal from this LA band containing only sampler, drums, and vocals. Maybe drone or electronic technically, but metal in mood.
17. Triptykon - Melana Chasmata
Second album from living metal legend Tom Warrior of Celtic Frost, expands on their debut’s atmospheric, anthemic, lumbering goth-doom sound. Cover art was one of the last projects of painter H. R. Giger, the artist behind the Alien franchise, before his death.
16. Atriarch - An Unending Pathway
Brooding doom with a strong early goth/deathrock influence on this Portland band’s Relapse debut. A really natural combination that I’m surprised hasn’t happened more often/sooner.
15. Abigor - Leytmotif Luzifer
Original Viennese black metal band (around since the early 90s) return with their most challenging, avant-garde, layered work in years. They constantly top themselves.
14. Teitanblood - Death
Primitive, violent, uncivilized blackened death metal from Spain! The production sounds like it was recorded in a coffin underground.
13. Dead Congregation - Promulgation of the Fall
Greek’s metal stalwarts again make the case for being one of the most solid, reliable bands around the globe playing traditional, yet complex and dynamic, death metal.
12. Woods of Desolation - As the Stars
Atmospheric, melancholy Australian post-black metal that gives Deafheaven a run for their money. The shimmering shoegaze influence takes the lead on this band’s newest, containing grandiose peaks and unrelenting emotion.
11. Godflesh - A World Lit Only by Fire
The British industrial-metal legends return after over a decade for a worthy new installment to the band’s 26-year career. Clanking tribal chants that lost nothing from their time off.
10. Primordial - Where Greater Men Have Fallen
These Irish beasts define the word “epic” with their triumphant, black metal-influenced eighth album. Highlights include singer A.A. Nemtheanga’s theatrical vocal performance, influenced by Irish folklore and history about, well, where greater men have fallen.
9. Behemoth - The Satanist
These Polish demons return after a five-year hiatus in which frontman Nergal was diagnosed with and successfully fought leukemia. This seems to have fueled their fire as this effort is their most polished in years, with their patented brand of epic blackened death with ultra-clean production and symphonic samples.
8. Darkspace - III I
This mysterious, space-obsessed Swiss trio unleashed their darkest, most ambient, layered production yet. They explore the intersection of science fiction and black metal deep within the expanses of the cosmos. They announced the release of this album via morse code! They also may or may not understand Roman Numerals.
7. YOB - Clearing the Path to Ascend
The most focused yet from this Eugene, Oregon doom institution. Absolutely huge riffs that climb upward and frame surprisingly varied compositions uncharacteristic of the genre.
6. Winterfylleth - The Divination of Antiquity
Emotional, folk-influenced epic black metal from the moors of England. Their mastery of the genre should make them one of the biggest black metal bands in the world. Cold British winds abound as they pay homage to their heritage.
5. Thou - Heathen
Baton Rouge, Louisiana’s DIY heroes finally make their masterpiece of political, personal, apocalyptic sludge. They experiment with harmonies and softer instrumental pieces, lightening the heaviness of their cacophony.
4. Pallbearer - Foundations of Burden
The young Arkansas quarter top themselves with grand, epic doom and serious crossover appeal. Beautiful guitars swirl through a Black Sabbath-inspired journey.
3. Agalloch - The Serpent & the Sphere
America’s finest metal band return for their fifth album of folky post-metal with influences all over the spectrum. Another perfect addition. They turn up the overall production, playing tight, sprited, nearly prog-like compositions in homage to nature.
2. Thantifaxath - Sacred White Noise
The debut album from these three Canadian, anonymous, robe-clad musicians who play complicated, ferocious, melodic black metal is one of the most insane I’ve heard in years. An atmospheric whirlwind of ominous energy. They barely play live, lending to their clandestine image.
1. Blut aus Nord - Memoria Vetusta III: Saturnian Poetry
The reigning king of international black metal returns to his roots with the third in his second trinity series (the first Memoria Vetusta dates back to 1996!). Absolute mastery of the genre from someone who knows it best. Highly dynamic, gorgeous, passionate, while losing none of its fire. An opus of melody glorifying the natural world.
P.S. Apologies for the lack of posts lately, I’m intent on not letting that happen again.
I got into Lead Belly from listening to Nirvana's cover of "Where Did You Sleep Last Night" (itself a traditional song arranged by Mr. Belly) on my older brother's copy of MTV Unplugged in New York as a kid. That album also showed me "The Man Who Sold the World," Meat Puppets, and The Vaselines. Thanks again, Kurt.
Born Huddie William Ledbetter in rural northern Louisiana in 1888, how the blues pioneer got his nickname depends on who you ask. Either it was his tough prison reputation (he was stabbed in the neck, pulled out the knife, and nearly killed the attacker with it), being shot in the stomach with buckshot, or maybe his ability to drink moonshine.
His songs varied in topics, from women and liquor to prison life and racism, slavery and cowboys to work and dancing. He even wrote songs about public figures, including Hitler. These songs represented a large swath of Southern culture of the first half of the 20th century. He was writing protest music long before Woody Guthrie and Pete Seeger, both avowed fans he would play with in his later years.
He spent a good chunk of his life in and out of prison for various, possibly drunken acts of aggression. Lots of knife fights. He continued to play music in prison in Texas, attracting the attention of the state's governor. Lead Belly wrote a song for him asking for a pardon, and was granted it. This same series of events happened again later in Louisiana, where he was again pardoned.
He spent his later years in Manhattan, living amidst the Harlem Renaissance of the 1930s. Lead Belly died of ALS in December 1949 at the age of 61.
He didn't spend all his time on sober, humorless tunes. Much of his songwriting career had him whipping through rowdier numbers of gospel, pace-keeping work songs, and unruly jigs.
The full range of his skills is showcased in a new, exhaustive 5-disc box set put out by Smithsonian Folkways, the record label arm of the Smithsonian Institution. Lead Belly: The Smithsonian Folkways Collection contains nearly all of his recorded output.
This career retrospective box set also contains a 140-page, large-format book and features 16 unreleased tracks. It places all of his better known material alongside his later radio performances and final sessions. If you can swing the hefty price tag, there doesn't seem to be a better way to dive into the full story of this American legend.
Cameron Dean has his hand in many [punk, Rochester] pies. He grew up in Penfield, NY, an eastern suburb of Rochester. He's been playing in bands since he was 14: Bad Taste, Rational Animals, Rotten UK, Everything Falls Apart, Wombat Syndrome, The Inducers, and currently Tapehead, to name a few. He currently runs a record label called Strange Disc Records. He has also worked at Record Archive, Rochester's 40-year-old vinyl emporium, since 2007.
Suffice to say, he's listened to some records in his time.
Cam, at right. Photo by Lance Romance.
Me: Do you remember your first vinyl listening experience growing up?
Cam: Ya know, to be honest, I can't remember the FIRST time listening to a record. In my house, it was usually cassettes and later CDs. I remember my mom taking me and my brothers to get Insomniac by Green Day on cassette when it first came out. I was pretty young but my brothers were both really into Green Day from what I remember, so 4-year-old Cam was really into Green Day too. That was also my introduction to anything punk related. However, I do remember looking at my parents' record collection when I was pretty young, 6 or 7 years old probably. It had been put away since they owned a CD player by that point and ya know- it was the 90s, records were obsolete forever! But I definitely remember being really intrigued by records when I was looking at them at that age.
What was the first record you ever bought?
I was 13, I think the first record I bought was a reissue of Bedtime for Democracy from Hot Topic at the mall. I just remember thinking records were so cool, and it was not like it was today. This was like 12 years ago, records actually were SO not cool. Nowadays I see 15, 16 year old kids at Record Archive and they're goin' crazy for records. It blows my mind because when I would talk about collecting records casually when I was in middle/high school, both the teachers and kids thought I was crazy. "They still make those things?" This was in the thick of the MP3 revolution. I would walk around with a fucking Walkman because I thought iPods were so stupid. People thought I was out of my mind, and to be fair I kind of am, so who am I to disagree? It's changed so much now, the consciousness has shifted. Nowadays, the major labels and big indie labels all have huge vinyl runs of bestselling albums. I never would have thought it would be like this. I'm not complaining either, like some people are all like "Who are these new kids? Where were they when all the record stores were going out of business?" I'm just glad people are buying the stuff now. It's good for everyone: the labels, the stores, and ultimately the consumer, because they're not getting some whack sounding compressed MP3 download. They're getting the real deal, and I'm glad the real deal is cool again.
Do you remember your first record store experience?
My first few record store experiences were all at Record Archive, they were the only record store I knew of when I was 15. It wasn't until a little bit later that I discovered the Bop Shop and Fantastic Records, where unfortunately I only got to shop at once before they had to close their doors. I remember Fantastic had the best punk selection in the city at the time. I used to beg my mom to bring me to the Archive at their old location on Mt. Hope Ave. It was such a cool store, it was sad when that location closed, but I've really grown to love the current location and I think we've really put our roots down there now. It's a great store and I'm stoked that I get to work there.
Tell me about any other significant record purchasing experiences you can recall.
Hah, there's a lot of record purchasing experiences in my life. Do it too often. I remember going to Amoeba in San Francisco. The store I work at is huge, but the Amoeba stores are just at another level of huge. It's like an industrial megalopolis of cool shit. They're way cool places to visit, but I'm a little bit more into the smaller to medium sized shops. It's always cool to find the little boutique shops too, like Needle Drop here in Rochester, or Vinyl Conflict in Richmond. It's crazy how different the vibe can be in different shops.
What was the last record you bought?
I think the last one I got was Neurotica by Redd Kross. For how much I've listened to and love that record, I actually never owned a copy. It's one of the best punk albums that came out post-1986. I love everything about that band.
What new music are you excited for?
The Sheer Mag 7" that came out last year is completely out of this world. It was my favorite record that came out in 2014. They have an LP in the works and I can't imagine that it's anything short of amazing. I haven't heard it yet, but Anasazi out of NY just put out a new LP on Toxic State, one of the best current labels. The Vanity record that came out a few months ago on Katorga Works (my other favorite NY label) is super good too. New York City has probably the highest concentration of bands that rule at the moment. It's cool to see that city produce righteous DIY music again, it wasn't like that 10 years ago (at least for music I give a shit about).
What shows have you been to lately?
My band, Tapehead, just played a gig a few weeks ago with Harmonica Lewinsky for their record release. They just put out an awesome EP on Reel Time Records, Rochester's premier rock 'n' roll label. Last night I went and saw Danger Troll and Hot Mayonnaise at the bug jar, which was really awesome. I also realize I just listed off the most ridiculous band names ever, but I promise all of the above bands are totally righteous.
What upcoming shows are you excited for?
I'm playing New York's Alright 2015 in April, which is going to be really awesome. I went to the first one two years ago, and this is the final year so I'm super stoked to be a part of it. The whole fest is a showcase of the top (and not so "top", but equally as important) DIY bands in existence at the moment. There is a healthy mix of US and International bands from all over the globe. It's going to be a real cool time.
Favorite show you've ever been to?
Fuck, this is a hard question to answer. If I had pick, it would probably be when Municipal Waste, Annihilation Time, Caustic Christ, and The UV Rays played at the Mohawk Place in Buffalo, NY. This was right when Municipal Waste's first record on Earache came out and it was, in my opinion, the height of the band. Everybody was SO stoked to see them, there were probably 300+ people crammed into that relatively small club. I can't imagine it wasn't above capacity. People were jumping off a trampoline that was set up onstage into the crowd. It was fucking nuts. My parents drove me to the gig from Rochester too, hah! Also, this was the first time I had heard Annihilation Time, which have turned out to be one of my favorite bands of all time, and their second LP is hands down my favorite record that came out in the 00's. Easily a modern day classic.
I think a close second (or a tie for first place) might be when Nik Turner's Hawkwind played at the Bug Jar last September. Holy hell, I've never gotten such a heavy vibe from a band before. To be fair, there was a lot of psychedelic shit going on at the club that night. Pretty sure someone spiked the punch or something. But seriously, when I walked into the room during the first song, I was dumbstruck. Watching a fucking senior citizen command that much power through rock 'n' roll was truly inspiring. I didn't pick my jaw up off the ground until the end of the set.
What does the future look like for vinyl records?
That is tough to say. I want to say it's here to stay, and I think to a certain degree it might be. Eventually the growth might stop, and I think everyone involved in the "music biz" is expecting some sort of plateau at some point. Right now, it's a good time to be putting out vinyl records. You can always plan for the future, but the future doesn't always go the way you want it to. I hope for the best and plan for the worst. The business of music is always a wild card so there's no way to tell what will be cool in 10 years.
Tell me about what you do at Record Archive.
My "official" title at Record Archive would be "Manager" I suppose, I guess more specifically a "Vinyl Manager" because I'm one of three people who work more or less exclusively in the vinyl department and can buy used records for the store. There's kind of an unspoken tier of managers, but we're all just called managers, there are no "assistant managers" or like "key holder" titles or anything like that. We're all just lumped in as managers despite some specific duties or seniority that certain people may have. Duties include, but are not necessarily limited to, opening and closing the store, counting cash, buying used stock for the store, ordering from distributors, and making any sort of executive decision that needs to be made. There are lots of crazy stories, record stores attract very eccentric people. I would need a whole 'nother interview to go in depth. One time, somebody shit on the floor in the middle of the store, and no one knows how it got there. We didn't see anybody drop their trousers and do a shit, but ya know, the shit was there. It's a mystery, only the good lord knows who dropped the turd. There are a couple of shit stories actually but I'll spare the readers. You've heard one shit story, and you've essentially heard them all. Picking up human waste is no fun. Another guy covered himself in shaving cream in the bathroom, that was a pretty neat time. One time I got to go out to lunch with Chris Jericho, that was fucking awesome.
Strange Disc is the label you run that's done reissues for out of print soundtracks for cult movies. What's next for that?
Lots of stuff going on with Strange Disc right now, but unfortunately most of it is still in the "negotiation" processes so I don't want to announce any unannounced projects yet. There's the soundtrack to a film called Slime City coming out soon. It will probably be out around late April/early May. It's a really weird sounding record. All the music was done by a guy named Rob Tomaro, who is now a classical composer. Super talented guy, who made a really wacky sounding score to a wacky midnight movie. It kinda reminds me of The Screamers without vocals.
Here, I talk with local musician Forrest Green about some of his favorite records and musical memories.
Beastman live, with Forrest on the right. Photo by Noah Almekinder.
Forrest is from Hilton, New York. He's been singing in a punk rock band called BEASTMAN for five years. He also plays bass in an experimental rock(ish) band called Lamby. In his spare time, he's a barista at Java's Cafe in Downtown Rochester.
Me: Do you remember your first vinyl listening experience growing up?
Forrest: My first vinyl experience was probably when I was about 14 or 15 years old. I'm almost certain it was a punk record or something. That's when I was first starting to hang out with the kids in my actual hometown, which was Hilton; I kind of realized that I was growing into a whole new thing when I stopped hanging out with my friends in Greece. I'm sure vinyl was foreign to them at the time. Yeah, you could say I was starting to grow up. Ha!
What was the first record you ever bought?
The first record I first bought was a local 7 inch, by this band called Spoonful of Vicodin. One of my first punk rock shows I went to was at this lodge near Durand Beach. Kind of mind blowing seeing a two-piece playing punk rock/grindcore shit at the time. Intrigued I was, so I bought their record. 15-45 second songs caught my ear at the time. It's still very cool to me.
Do you remember your first record store experience?
The Bop Shop at the Village Gate was my first record store experience, now that I think of it. I purchased the Suicidal Tendencies self titled record; my friend Trevor got me into them. I was hooked on the songs 'Institutionalized' and 'Subliminal' because they felt so fucking relevant to me. I feel like that's when I subconsciously started to listen to records straight through without skipping to a specific song like you would on an iPod. We always went to the midnight sale at the House of Guitars too when we were little teeny boppers. That's always fun.
Tell me about any other significant record purchasing experiences you can recall.
The self titled record by The Velvet Underground would be one. I fell in love with that band during my senior year of high school. Ha, I listened to it most when I was going out this girl I went to school with. I felt like every song grabbed me like I was was in love, later finding out that some of the the songs were about transvestites and getting turned away from the bar. That didn't change my opinion about it. It made me love it more! Another one is Goo by Sonic Youth. It became significant to me around the same time as the Velvets record. I had a gift card to the Bop Shop and I'd had my eye on it for a while. I could see why any 17 year old problem child would love this record, it's incredibly sexy, groovy, it's rockin' as hell. Oh man, I frequently listen to Goo to this day and I get the same feeling from when I first put it on my shitty Panasonic all-in-one turntable.
What was the last record you bought?
The last record I bought was New Traditionalists by the band Devo. I'm not exactly a die-hard fan like some of my fellow peers in the greater Rochester area, but when I feel that the time is right, I put 'em on. I bought it because it has the song "Through Being Cool" on it. I went to see Heavy Metal at the Little Theatre and the song came on during this crazy bar fight scene. The song had me at hello because I've been around that block before, and eventually the record too. That's why movies and music go hand in hand.
What new music are you excited for?
I'm currently excited for the Temptators album to come out. I believe it was recorded for an LP but they're releasing it on a cassette just so people can hear it sooner. The band consists of people that I grew up with in Hilton and that also play in my band. It's something out of the ordinary for certain; it's probably the most rockin', the most beautiful band I have ever listened to. I'm also excited for the new Flip Shit record to come out, which also has good friends of mine and bandmates. Another local record that contains so much sentiment and emotion that makes you wanna dance and cry until you're fucking dead! I'm not saying this just because they're my friends but it's some of the best punk rock, rock 'n' roll, whatever you want to call it, that's going on. You see these other local bands that bend their knees and grasp on to their nether region playing this "Indie Rock" or "Stoner Rock" jive that has no soul.
What shows have you been to lately?
The last show that I should mention is the one that was beneath the streets of Rochester, New York. The lineup was Ivy from NYC along with local rockers Flip Shit, Beastman, Rotten UK, and Tapehead. I took this guy's drunken idea and made a rock show out of it. My friend Danny and I drove down generators, lights, and amplifiers, the essentials to make it happen. There was about 200 people there. The word spreads fast when you mention a secret rock show. People go bat shit crazy for these gigs. People commit such acts such as lighting off dynamite, blowing fire, getting into tussles with crackheads, I could go on for a while. It's been a Rochester tradition for nearly a decade. Going to shows in New York City kind of inspired me to make some shows happen around here.
What upcoming shows are you excited for?
I'm excited to go to the New York's Alright 2015 festival in April. It's a weekend fest. Some of the hotsy totsy NYC bands are playing, along with Cam's band, Tapehead. As Cam would say, or Iggy Pop rather, a real cool time.
Favorite show you've ever been to?
I'll name one. One was seeing Nik Turner and his band at the Bug Jar. This was back in September. Nik Turner is an original member of Hawkwind. His band consists of some younger talent that I'm unfamiliar with. He's 74 and still on the road, which is so fucking cool. He was composing his band without making any contact with them. It was by far the most deranged performance I've ever seen. So inspiring. The show itself really brought out the freaks that night. There was this kid from who-knows-where on bath salts that kicked his own ass and went headfirst into the bar's window. We were in the back ally behind the bar when we thought we heard bloody murder. The kid eventually came out of the shadows with a busted face, wearing a shirt that said ENEMY on it.
What does the future look like for vinyl records?
Well, it appears to me vinyl is making a comeback for certain. Some people are exposed to it, many are not. I don't work in a record store so I'm not sure what really intrigues the average listener these days. As I said before, movies and music go hand in hand. For instance, the Drive soundtrack, American Graffiti, Twin Peaks, Heavy Metal, you name it. A lot of music I listen to today is from what I came across in skateboarding videos and some of my favorite movies. I really hope that the kids will come to their senses and learn to appreciate music listening in the best way, ever.
Cleveland, OH was the Unlikely Capital of Punk in the 1970s
"That can't be right," you might be thinking. Cleveland was just another decaying rust belt city that paled in comparison to the motor city grind of Detroit to its west and the big city lights of New York City to the east.
But two new compilations make the strong argument that this grey Midwestern city set the perfect scene to produce some of the movement's most vital rock and roll. Soul Jazz Records, a British label known for its compilations of out-of-print and rare genre music, just released the newest in its Punk 45 series, representing different eras and vantage points in the punk world. Extermination Nights in the Sixth City - Cleveland, Ohio: Punk and the Decline of the Mid-West 1975-82 collects the city's greatest punk hits from the late 70s, while Burn Rubber City, Burn! - Akron, Ohio: Punk and the Decline of the Mid-West 1975-80 does the same for Cleveland's smaller close neighbor of Akron.
Many consider the Cleveland area to be a birthplace of American punk, and it certainly has a lot of names behind that claim. Notorious NYC punk legends the Dead Boys got their start in Cleveland before relocating. The Cramps spent a few early years in Akron, about a 45 minute drive south of Cleveland. Chrissie Hynde of the Pretenders is from Akron, as well as weirdo experimenters turned new wave hits Devo. Lesser known acts Rocket from the Tombs, the Pagans, and Pere Ubu made strong bids for regional heroes. Something about how dingy, industrial, and boring the landscape was reflected in the mutated music that arose from the era.
The Pagans in the late 1970s. Photo credit unknown.
These names established a passionate local scene just like their larger, aforementioned neighbors the Stooges did for Detroit or the Ramones did for NYC. On the Cleveland comp, Rocket from the Tombs kickstarted the scene in many ways, and their contribution "Life Stinks" is nihilistic and lurching. The Pagans' "Street Where Nobody Lives" is as good a contender as any for anthem for the city, with its snarling vocals and screeching guitar. Pere Ubu give Talking Heads a run for their money, only their approach is is geared for the gutter rather than the radio. Elsewhere, one can see the roots of dreamy, atmospheric indie rock as well as damaged noise music.
Devo in 1979. Photo credit unknown.
Akron, a city already on its way out from any sort of prosperity derived from its rubber industry, contains some of the even stranger music from this scene. An early Devo track "Mechanical Man" shows a completely different band than the later (but no less awesome) radio darlings, much more experimental and much less rhythmic. The music coming from this place was less influenced by trends and more of a free-for-all, resulting in some seriously unique, exploratory, playful songs. Science fiction, art, and punk all collide in many of these gems.
Most of this music is hard to find and out of print, but essential. Both albums are available for purchase from many fine online outlets or local record stores.
Starting off small, I will begin by talking with my partner, Lauren Alberque, film archivist extraordinaire. Working all day with film as an object, she is dedicated to preserving art in its physical format. Sound familiar? What she does is basically like working with records (as in maintaining the objects in the way they were intended, cough vinyl is the format music was intended for cough), only with film. She, too, is a lifelong devotee of the arts.
Photo taken by myself in front of the Technicolor exhibit she helped install at George Eastman House in Rochester, NY.
Me: Do you remember your first vinyl listening experience?
Lauren: I vaguely recall not my parents, but maybe an aunt, having a record player and seeing it on top of their entertainment center. I thought it seemed intriguing and distinctly remember opening the clear plastic lid and pressing my hand down. I remembering feeling the grooves and how the turntable's texture was rubbery, and wrapping my fingers around the metal spindle in the center, but not seeing a record and feeling very curious into how this alien technology worked. It was immediately a very tactile thing and I was very curious as to how it operated.
Do you remember the first record you ever bought?
I want to say it was an AFI 7", I wasn't entirely sure if I knew how to play it, I just thought it was cool and knew I wanted it. I was probably 13 or 14. I bought it at Hot Topic in the mall. Secretly, of course, because my mom didn't let me shop there. I didn't even have a turntable yet. I think my second one was probably Bright Eyes' Lifted on vinyl. That was the first time in my life that a new album came out and I immediately purchased it on vinyl. I got it through Saddle Creek's [record label] mail order.
What was your first big record store experience?
Reckless Records on North Broadway in Chicago, probably 2004 or so. I was a freshman in high school visiting Chicago to see family. As a 14 year old, it was the coolest place I could imagine being in. I distinctly remember the record reviews on the stickers on the plastic sleeves and thinking that whoever writes these must be the coolest person ever. I had found this place that I didn't think could even exist. It was also in the hay day of my angsty emo era, so I came to buy the Bright Eyes vinyl box set. I had saved up for a really long time, and going there to buy it in person with my own money was a really special experience. Going to Chicago and getting to buy it in a cool record store was the coolest thing I had done up to that point in my life.
Wait... Didn't we listen to that box set?
[Laughs] We would end up listening to that same box set one of our first times hanging out.
Tell me about some significant record purchasing experiences.
Probably in like 2011, I was having a bad day and went to Reckless Records in Wicker Park, Chicago. There, behind the counter, with their special limited box sets, was Bobby Beausoliel's soundtrack to Kenneth Anger's film Lucifer Rising. That year, I got into an intense obsession with Kenneth Anger's films and had yet to hear the entirety of the soundtrack that Beausoliel had composed. The box set was the complete soundtrack on 5 LPs, originally composed for the film. I was really fascinated with Anger's films and his self-absorbed mysticism. I had read all about his relationship with the composer and the soundtrack for the film was really heavy, intense, powerful, almost cathartic stuff.
What was the last record you bought?
They've been repressing lots of world music and I bought a Cambodian pop record called Groove Club Vol. 3: Cambodia Rock Intensified! I'm really into these reissues of music that is really hard hard to find. I'm into seeing hard to find, niche world music being repressed on vinyl and being made available.
What new music are you excited about?
I like whatever the label Secretly Canadian puts out, so I'm sure they have some good releases coming out soon.
What shows have you been to lately?
I saw the Distant Worlds Philharmonic Orchestra perform songs from the Final Fantasy video game series in Newark, NJ. Being a big fan of the series, it was the second time I've seen it, and it's always an emotional experience. The series has such wonderful music and it's great to see it celebrated in such a magnificent way.
Any shows on the horizon you’re going to?
I'm thinking of catching Sufjan Stevens in Albany. I've never seen him and would like to.
Favorite show you’ve ever been to?
Owen Pallet at Hailey's in Denton in 2007. He played solo with a puppeteer doing shadow puppetry on an overhead projector. It was a small club and a small crowd and super intimate.
How does listening to music on vinyl relate to your profession?
Well, I work in a job that involves preserving entertainment and cultural media in its original medium, and holding by the belief that its original format is the best way to experience said media. So, it's no surprise that when I move from movie watching to listening to music, I also prefer to listen to music in the medium it was intended to be heard in. It really reinforced this belief when I went to the Library of Congress and had the opportunity of listening to several different formats in a state of the art listening room. In that room, I was able to really hear how the format influenced the sound on a level that I had never been able to deeply appreciate before.
What is the future of vinyl?
I think that the revival of the record pressing industry is a good example of how collectors and people who are passionate about something that is otherwise obsolete can have the power to create a demand that can generate, albeit maybe niche or small, a market. Small businesses making small amounts of things for a small amount of people. The best way we can support this is to keep buying them and listening to them.
Hello all, and welcome to crateness. This blog is a long time coming, and probably should have arrived sooner. It is my entry into the lovable, endearing, wacky world of music journalism.
Backing up a bit, what this blog will be: mostly conversational, including many interviews with
my friends
my family
records collectors, both local and not
record store owners
other music bloggers
musicians
anyone else with interesting opinions on the music industry?
We will talk about musical memories, the future of vinyl, our favorite records, favorite concerts, music news, playing shows, and what collecting records has meant to them. It will have emphasis on the presence of music in the full physical format: the vinyl record. I will also likely review some records that hold significance to me.
As for me: I am a lifelong music fanatic, and although not so much a musician, have had music take up significant parts of my life for as long as I can remember. I've dug through bins of records in countless cities, seen enough shows to probably lose significant hearing ability, and consumed years of my life curating my musical collection. I've spent some of the most meaningful and critical moments of my life absorbed in listening to a record.
I recall pretty clearly when my parents dug out their turntable sometime in the 90s and put on Elton John's Goodbye Yellow Brick Road (it's still good, obviously). I have endless memories of spending my youth at shows in dingy basements and community centers, collecting extremely limited pressings of punk records. I can still feel how I felt when I inherited my parents' collection and the memories contained within. I remember hitting up Good Records in Dallas, TX and later Reckless Records in Chicago, IL weekly and spending way too long and way too much money within.
All of these experiences have led to this hobby holding much personal significance to my life and character. They take up much physical space, time, money, and effort, but having physical objects of the music that I love is essential to me. I feel inspired enough to muse on this experience and on all the particulars involved.
This blog is a work in progress, and will probably get smoother as time goes on.
I'm always open to comments, suggestions, questions, and concerns. Hope to engage in some conversation soon.
P.S. The title is a reference to the milk crates that many store their records in. Obviously.
