Last August, Klein, who records music under the name Ohr and formerly fronted The Race, was deep into the recording of his new album, Afterglow, when his father got sick and died unexpectedly. It all happened in the span of a month, and Klein found himself reeling. “It rocked my world,” the songwriter recalls. “All I could really do to keep from losing it was to just work on music.”

In a haze of anxiety and grief, Klein returned to his music and found that the record’s themes resonated eerily well with his new reality. He had already intended Afterglow to be a loose song cycle exploring themes of daybreak and sunset: What does it mean to find light in the darkness? When darkness comes on, is the sun simply going up somewhere else?

Finding renewed purpose, Klein poured his grief into completing Afterglow, set for an August 30th release via Headstate Records. The resulting album is anything but defeated; it’s stirring and hopeful. Drawing on his love of ’90s electronica, Klein channels psychedelic textures, sampled rhythms, and woozy hooks into a cathartic meld that spans from the trance-infused pulses and anthemic roars.

Ahead of the album’s official release this Friday, we invited Klein to join us for a very special edition of our Vinyl Lives column where he highlights some of his favorite Seattle-area record stores as well as a couple of favorites in the Midwest where he originally hails from.

Georgetown Records:

You won’t find a lot of standard fare or reissues here, just cool nuggets you didn’t even know existed or you needed til you walked through the doors. It’s a very relaxed atmosphere in a cool part of Seattle a lot of people don’t know about. Great dollar bins as well. Last purchase was a copy of Spectrum’s Songs for Owsley. Sonic Boom / Spacemen 3 are big influences so this was a major major score. I was able to get Sonic Boom to do a remix for me of the Afterglow album track Red Pill which was super cool.

Empire Roasters and Records:

This is a little place in the south end of Seattle opened by my friend Ian Peters because there really aren’t any other record shops in the area and he had the space available above his cafe. The only place to grab some great coffee and a record in the neighborhood. Last purchase was Ian special ordering me Julianna Barwick’s Healing is a Miracle and a reissue of Terry Riley’s A Rainbow in Curved Air, two amazing albums.

Zions Gate:

Classic record store experience, cramped and crammed full of good shit. It’s a place where you could as easily find obscure dance 12 inches as psych records, which is basically my wheelhouse. Last purchase was a copy of My Bloody Valentine’s Isn’t Anything.

Daybreak:

One of the better curated used selections you’ll find anywhere. You’ll always find something you didn’t even know you wanted. Last time I was there I picked up a double disc of The Beach Boys’ Wild Honey and Surfs Up LPs.

Sonic Boom Records:

A great shop with a good mix of new and used at reasonable prices. It’s in the north end and I think the last thing I found might have been either Veedon Fleece or Tupelo Honey by Van Morrison.

Neptune:

Another cool spot for used records. The last purchase I recall was a used copy of the Grateful Dead’s first album.

Wall of Sound:

Small but meticulously curated shop. Lots of cool and obscure stuff. Last thing I bought was Rhythm and Sound, which is a dub project of Basic Channel. Such good stuff. I listened to a lot of Basic Channel while I was making this record.

Also totally worth mentioning…

Easy Street Records in West Seattle with a huge used selection, Silver Platters is a great constantly changing inventory and has lots of books on music and and DVDs, Jive Time Records (thanks for the original press of Neil Young On the Beach before it got reissued).

I live in Seattle now but can’t not give a little glow to my hometown of Chicago, an amazing record city.

Reckless Records:

I worked here for a short time and still have friends who work there. When I get back to Chicago I always make a point to stop in. I don’t think there is a better shop any place.I don’t know how they do it but there is always something that I want. And if you are just looking online, they always hype new releases they are genuinely into on the website.

You asked for any other gems and I do have one quite off the beaten path.

If you ever find yourself cruising along Interstate 80 in the middle of the country, take a detour and roll into Iowa City, Iowa. There is a place called Record Collector that is well worth the detour. I’m not sure who is running it now but the original owner was a guy named Kurt and he turned me on to many great records when I was young.

The post Art-rocker Craig Klein (Ohr) Shares His Favorite Seattle Record Stores Ahead of New Album ‘Afterglow’ (VINYL LIVES) appeared first on Glide Magazine.

Throughout her career, Ocher has collaborated with a diverse array of artists including post-rock giants Mogwai, electronic moguls Red Axes, psych/rocknroll guru King Khan, avant-garde legends Die Tödliche Doris, Julia Kent and Felix Kubin and many more, showcasing her versatility and passionate commitment to the preservation of underground music. Since moving to Berlin in 2007, she has become an icon of the city’s underground music scene while cultivating a loyal following across the world.

Her upcoming album Your Guide To Revolution could have been profoundly heavy, but instead it’s an ode to hope. In fact, it offers certain avant pop anthems and summer grooves, along more adventurous pieces.

Ahead of the album’s official release on July 19th, we invited Ocher to join us for a very special edition of our Vinyl Lives column where she highlights some of her favorite German record stores as well as stores in a handful of other countries!

I’ll start with a confession: I don’t visit record stores to buy records. Sometimes I feel like an
imposter, sneaking in and looking around, with the sole purpose of selling them records.
We have an excellent distributor right now, I love the team, I love finally being able to decide when
and how to release music, but independent stores don’t often order records from them, so in a
regular year when there’s no pandemic or other disasters, I usually tour a lot, and part of what I do is
visit record stores to sell them records directly (you can find a strip about that from my comic book
MOOP!). This means, of course, that by now, there are hundreds of record stores on four continents that I stocked personally. I’ll mention some faves here, as well as a few from my hometown of 17 years
(and counting): Berlin.

Excellent record stores in Germany and beyond:

• Optimal in Munich: Optimal is phenomenal, they have an enormous diverse record collection, but
  also incredible books on music, but not limited to. Last time when I played in Munich the promoters attempted to do a little livestream from the store, the owner with the unforgettable name o Christos is a very serious gentleman who is suspicious unless he knows you and I feel very fortunate to have passed the test and now each time I’m there they are extremely kind (and I am always excited to be surrounded by so much great music and literature so I generally act like a goof when I’m there).

• A-Music in Cologne – A Music is a distro as well as a record store, they carry fantastic obscure
  titles, and I believe we met the first time formally at the Belgian Meakusma festival (which is held
  in the small part of Belgium where the formal language is German).
• Zardoz in Hamburg – Named after the silly sci-fi film with Sean Connery, it is a shrine dedicated to
  subculture in general, like Optimal they also carry books and other media, and are very suspicious
  of strangers. On a good day you meet a friendly clerk.
• Bongo Joe in Geneva is perhaps my favorite record store. It is also a label and a music venue.
  And I was absolutely thrilled to have been invited to play there earlier this year. They stock everything from electronica to non-European music (lots of African and South American
  contemporaries, and re-issues) and it is guaranteed to be very well curated.

• Peekaboo Recs in Lisbon has a similar vibe and an adequately great selection, but it’s much newer
  and smaller and located on a 2nd floor of a mall, which makes it a little challenging to find (many
  Portuguese record stores are oddly located inside of malls, similarly to some in Greece, Turkey and
  some spots in East Asia).
• Dangerhouse in Lyon is all about Garage and Punk, and perhaps my association with King Khan is
  what created the bond there, the owner is extremely kind and it is an extremely fun, colorful spot to
  hang.
• Hardware Store in Bern is run by Reverend Beatman, the legendary one man band and owner of
  Voodoo Rhythm label which celebrated 30 years recently, they have an incredible selection of
  everything 50s-60s, garage and beyond, but their opening hours are extremely unpredictable and
  limited. Located in a storage space off of one of the main streets in central historical Bern.

• Flying Out in Auckland is connected to the best record label from New Zealand, Flying Nun
  Records. It is home to weirdo folk and experimental pop, and Matthew Crawley, who is the first
  person to ever book me in New Zealand a long time ago, works there.
  Other honorable mentions:
• Dig! In Moscow, the best underground spot for records in town – which posts embarrassed/sad
  posts on social media ever since the war began.
• Kernkrach in Munster – which stocks lots of obscure EBM, industrial, synth pop and the like.
• Zoltan Records Istanbul – a tiny spot on the Asian side of the city, with excellent collectibles, like
  the original pressing of The Velvet Underground & Nico, tends to be closed more than open, even
  during formal opening hours.

• An Ideal for Living, Stockholm – a tiny spot that’s completely filled up with mostly 2nd hand
  items: most of which are music, but there is also furniture (!) and decorative items. The owners are a
  husband and wife who travel the world scouting for items of interest.
• Sort Kaffe & Vinyl, Copenhagen – This is a tiny spot that I cherish mainly because I stumbled
  upon a Francis Bebey record there, and discovered him incredible work.
• Vary, Leipzig – a cafe and a record store that specializes in electronic and club music.
  They also seem to be putting on shows in different locations, or at least be connected to lots of
  underground promoters in town. Leipzig is very rich in subculture, which is very admirable.
• Tower Recs – I only know of a couple that are still left, but I’ll put it here for nostalgic purposes.
  The one is Dublin is quite corporate and dull, but I recently found out that one in Tokyo stocks up
  my new album and that gave me an enormous ego boost. I used to shop there for CDs when I was in
  school and various friends from around the world used to work in the early 2000s.
• Other Music, NYC – RIP
  The store closed down a few years back, but it was an absolute delight, full of incredible
  adventurous music. It is dearly missed and I wish there were more places like these

Berlin:

Berlin is blessed with 40+ rec stores, which range from semi-secret/private locations that stock only
very particular kinds of techno / house, to stores that look like someone’s living room with private
collection of beat-up 2nd hand records (it’s astonishing how many of these are still around despite the
rising rents!). And all 40+ of them were informed when nearly 1000 of my records were stolen last
spring from our storage… never to be found by the police, or anyone else.
Some of my faves are:

OYE – Has two locations, its owner is an extremely kind and enthusiastic fella who grew up in
Berlin, in the same street where he opened the original location (in Prenzlauer Berg) – which is still
where the first shop is located, they also often put up posters of shows and keep flyers, there’s a true
community spirit which lacks in nearly all other stores. They stock electronic music, but also much
much more.

Pop Records – a real institution for outsider art and collectibles, they also host little art openings and
live shows, there’s quite a bit of 2nd hand stuff, but also new interesting releases. They’re pals with
some NDW and Berlin underground art characters, who created astonishing German electronica in
the 80s/90s and are still active today.

Lefter Recs – despite the extremely limited opening hours, this new Kreuzberg institution is well
worth a visit. They pride themselves in having one of the biggest collections of Turkish music
outside of Turkey, and Erbatus the owner is a wonderful conversation partner.

And one warning: Spacehall Records – which is quite large and long-standing, they have a big
electronic section, post-punk and industrial, but also try to be a bit of a crowd-pleaser with
commercial releases and memorabilia for tourists.

It stocked up quite a few of my records in the past and sold them all, then stocked some more, but
the owner pulled a very nasty trick on me last autumn when Approaching Singularity came out (my
first record in 7 years) – he took a long look at the 4 records and comic book I brought along, asked
how much, and then disappeared without telling me, nor the staff where he was off to. The staff
were extremely apologetic, tried calling him, look for him, but no dice. After 40 minutes, I was done
waiting, and returned a few days later, just to find out from an employee that he “wasn’t
interested!!”. Some record store owners are just dicks with little respect to musician’s work and
time, and when you’re a woman, there’s often also a tinge of sexism involved.

Usually when they realize you have 7 records out and you’ve worked with lots of people they admire
(all older men), they treat you differently, but every now and then, you still get a douchebag, and it’s
important not to let these experiences bring you down

The post Eclectic Pop Artist Mary Ocher Shares Her Favorite Record Stores Across the World (VINYL LIVES) appeared first on Glide Magazine.

The Record Pub has discovery at the heart of its operation. Whether you are uncovering a rare vinyl you’ve been trying to find for ages or a new favorite brewery to try out, The Record Pub invites you in to simply explore and try something new. In the same way, a royal purple accents a glimmering gold, The Record Pub has uncovered an irresistible combination with a pure passion to drive it forward. 

Glide had the pleasure of speaking to The Record Pub team about how the shop came to be, its curation process, and the stellar events that take place at their humble operation. Check out our full conversation below. 

When did the idea to put a bar in a record shop come to be?

In short, it began as a product of the pandemic. During the early stages in the summer of 2020, like many, we were all craving our favorite pastimes and familiar rituals. For the three of us, that very much included visiting our favorite local record stores and pubs. 

And, as many can probably relate, this period presented plenty of opportunity to dream. Andy dreamt up the initial concept, and from there, an excited series of phone calls took place to gauge interest, thoughts, and ideas amongst the three of us. We all immediately had interest in opening our own record store, but we wanted it to be more of a hangout, a place where the neighborhood and broader Portland community could also gather for special occasions, chat all things music, or simply enjoy a couple records and a pint amongst friends and family. 

So, we decided to set about combining the two – records and beer. 

Within minutes of that initial phone call, we were all in agreement that we were all-in, and the initial stages of planning began, in June 2020. Portland always has been a terrific city for record stores, and we wanted to complement that community with our own take, and additional offerings that folded in many of the great local breweries of Portland.

Fast forward to July 2022, and we were open for business. 

What has the reception to The Record Pub been like in the year and a half you’ve been open?

The reception has been incredibly rewarding. It’s easy to put pen to paper and map out something, but to see it in action, and bloom into what it’s become so far, it’s surpassed our expectations. 

People seem to really appreciate the curated selection of both records and local beer, the friendly atmosphere, the many social events, and the community that’s built around it all. There are numerous examples of people coming in on their own and becoming fast friends with someone they met at The Record Pub. Next thing you know, they’re swapping records, buying stereo gear off one another, going to shows together and just meeting up at The Record Pub on a regular basis. 

In addition to always having six local beers on tap, people enjoy our tap cider, our wine varieties, and the fact that they can take a four-pack of canned beer home at the end of their visit. We regularly feature a wide variety of local canned beer, non-alcoholic drinks, and bottles of wine in our “Cold Beer” cooler. The $5 mimosas on weekends are a big hit, too. 

It’s just one of those things – beer and records are a pretty sweet combination. We talk records and beer all day long at The Record Pub, and everyone’s invited. And there’s a good chance you’ll meet new friends when you visit. 

Do you notice any similarities between devout beer fans and music nerds and any famous fans you can talk about?

One of our favorite parts of how The Record Pub has developed is the variety of interests folks have. Some focus exclusively on the records when they come in, and some come by just to have their favorite pint and chat music. Heck, some come in just to write down their picks on the TRP Top 3, a weekly feature we offer where we introduce a new music-related theme each week and people weigh in on their favorites. 

But the majority of people who visit TRP come for the whole experience, ordering up a pint or a glass of wine and taking their time digging through the record bins. It’s developed into a great social activity, and interestingly enough, it’s become a great date spot, whether it’s a first date or a regular night out for couples. 

We’ve seen a number of notable musicians and other dignitaries visit The Record Pub. It’s a wide swath, really, from rockers to former governors. Most prefer to remain anonymous, so that’s all we have to say about that.   

When did The Record Pub start hosting events? What are some of your favorite memories from these events? 

From the beginning stages of our planning, we knew we were interested in hosting events and that they would be an important part of our business. We started hosting private events shortly after opening, and we’ve helped celebrate a wide variety of occasions, including birthdays, anniversaries, book release parties, trivia, holiday parties, karaoke, you name it. 

After we opened in 2022, we quickly began working on other special events and programming, introducing live music, listening parties, our mug club, themed happy hours, kids events and tap takeovers that highlight a lot of our favorite local breweries. For our one-year anniversary, we even hosted a pancake breakfast that benefitted the neighborhood elementary school. These events have expanded greatly over time, especially as we learned what our customers were most interested in. 

Each event has been memorable, but we just simply enjoy hosting them. It’s been a pleasure to host events that appeal to so many people and to see them have such a great time in the space. 

You guys buy used vinyl. What is the largest collection you’ve had to sift through? What is the rarest/most expensive record in your store right now? 

We’ve been fortunate to come across several collections numbering in the thousands, and those are always a thrill to dig into. Because of our setup, if someone brings in a decent-sized collection, we’ll comp them a free pint while we sort through the collection. An extra bonus! We are always buying, so bring in what you’ve got. 

Right now, we have a never-played, 1972 pressing of Agitation Free “Malesch” on the feature wall. That’s one of those rare titles that might be out there for a bit, but when that person who has it on the top of their grail list comes in to get it, it will make their day. The excitement people have when they find those types of records – ones that have been on their bucket list for ages – is easily one of our favorite parts of this endeavor. We always have an eye out for our regulars’ bucket lists, too.    

What does The Record Pub have in store for 2024? Can you give us any hints about what sort of brews you’ll be featuring or any events you have planned? 

This year is shaping up to be our biggest yet in terms of events. In addition to further enhancing some of our existing events, we’ve added a weekly community trivia night that will benefit local non-profit organizations. We will be hosting a monthly comedy jam starting in March, we are planning to do upwards of a half dozen tap takeovers with our favorite local breweries, we’re adding food-related special events, and we are going even bigger on Record Store Day and RSD Black Friday this year.

For the holidays this past year, we opened an annex location at one of our favorite neighborhood beer partner’s location, Ruse Brewing. It was so much fun that we are continuing with that in 2024, so record enthusiasts can continue browsing through our TRP pop-up at Ruse as well.   

The post Portland’s Record Pub Serves Up Vinyl, Brews & Weekly Gatherings (VINYL LIVES) appeared first on Glide Magazine.

Glide had the pleasure of asking Too Many Records frontman Matt about his experience in the YouTube world, how Too Many Records transformed into a storefront, and the difference between a shop owner and a vinyl collector. Check out our full conversation below. 

What inspired you to start the YouTube channel? Was the storefront and record label always in the plan? 

My good friend and old co-host Sandy (now Idalia) Valles told me that because I was so encyclopedic and passionate about music, I should start a YouTube channel to share that with other people in the vinyl community. At that time, I thought it would just be a fun thing to do, and the bigger concept ideas developed over time as a somewhat logical progression. 

When did your obsession with vinyl start? Did you have a record shop in your town and do you remember the first record you ever bought? 

The first record I ever bought was not for my own collection. It was The National- Alligator, my favorite album of all time, and it was for set decoration in a short film that I wrote/acted in inspired by the album. That copy somehow got lost during filming, and it wouldn’t be until about a year later, in 2013, that I would get my own turntable setup and begin my collection. I sadly don’t remember the first record I ever bought, but I do remember looking at boxes on my floor and thinking to myself “How do I have this many records?” very early on in the journey. 

How did the storefront come to be? How did you land in Portland and what was the process of finding the location like? 

The dream of owning a record store started to loom larger as the channel grew, and I became more and more entrenched in the endlessly growing vinyl community. With every year that passed, I thought to myself “There’s no better time than now to try this!” — however, living in LA and then NYC, those were two daunting places to start a shop for a myriad of reasons. I made my move to Portland at the end of 2020 with the goal of building out my shop here. I believe that I’ve read that Portland has the most record stores per capita out of anywhere in the USA — and the more record stores the better! It just means lots of people are looking to build their collections and every store carries different stuff, so each one’s existence is totally valid and only enhances the cultural landscape.

Finding the location was brutal, to be honest. It was a year of constant searching, and any location that I liked ended up needing me to sign a 5-year contract, and the price to rent far exceeded what I was comfortable with. This is my first foray into owning a business, so I wanted to make sure I didn’t bite off more than I could chew. When I walked into the location I have now, I had a gut feeling of “this is the place” — even though it wasn’t in a highly foot-trafficked location, I thought that with my online audience/social reach, I would be able to make it a destination store for locals and visitors alike. The price was right, the terms were amenable, and the space itself was large enough to execute my vision.

What have you found the most difficult part of transitioning from record collector to record store owner? What has been the most exciting? 

Funny enough, I just made a video talking about the 5 Hardest Things About Owning A Record Store. I’ll answer the first question in two parts. The hardest thing about running the store is getting the word out that we exist. It is harder than I anticipated, at least. We’ve built a really lovely community of regulars who are so generous in supporting us, and every week we get new people discovering the shop, but it’s still difficult to know that there are so many collectors in town who haven’t come by yet for one reason or another. Even crazier is when there are people in the neighborhood that come in and say “Oh hey did you just open?” and we tell them “A year and a half ago” and they are mindblown that they didn’t know we were there the whole time. 

The hardest part of going from collector to record store owner is the changing relationship with my personal collection. I’m so proud of my record collection. It has grown and shrunk and been chiseled over a decade of fervent collecting, but now when I return back from the shop, the last thing I want to do is listen to a record. I listen to 40+ hours of records a week, so I’d much rather unwind doing… anything else. I’ve started bringing some of my own records into the shop to try and listen through my comically enormous backlog, but inevitably every time I put on something from my own collection, a customer asks “Is this for sale?” which leads to me having to disappoint them, so that’s not great either. 

The most exciting thing is seeing what walks through the door collection-wise. People truly can bring some of the wildest stuff in, and I try not to pilfer it all for my own collection (if anything I try to bring chunks of my collection into the shop as often as possible to keep things fun) — but sometimes you have to get high on your own supply. Some of my favorite personal acquisitions from walk-ins have been: a clean 1st of Gabor Szabo – Dreams, a clean 1st of Funkadelic – Maggot Brain, and a second press of Sister Nancy – One, Two.

What about the label? How would you describe the music you release and how do you curate the records you release? 

The label is a labor of love and has never really been a money-making venture for me — I usually let the artists keep all the profit or let them decide how much I’ve earned, and thankfully they’ve all been fairly generous in that regard. That being said, it’s been a way for me to find artists I know and/or love and facilitate a one-time collectible pressing that looks and sounds amazing by utilizing the passion and support of my audience. Since 2019 we have 18 releases out there in the world, ranging from indie folk to hip-hop to electronica to pop punk. I love being able to have such an eclectic set of tunes under the Too Many Records umbrella. 

Your collection must be massive, how do you keep track of it all? Is there a process of deciding to keep a record for your personal collection and putting it on the shelves of the store? 

It’s massive. I have some friends who joke that I’ve been saying I have “3000 records” for years, but with the amount I acquire, it’s considerably more. I try to catalog it with Discogs, and I have it probably 70% accurate in there, but it’s easy to forget to remove something when you sell it or to add it when you spin it, so double checking that to 100% accuracy seems to be an impossibility at this point. I have a large “purgatory” section in my downstairs listening area of stuff that I’m debating keeping or bringing to the shop. I like having that option because it allows me to pepper in some really unique titles you wouldn’t often see at a shop, keeping the digging experience fresh and interesting for my customers. 

Are there any vinyl pressings you have on your bucket list that you haven’t come across yet?  

Always. Every year I do a series of the Top 7 Holy Grail Records that I’m hoping to find that year (and provide updates on the ones I was able to secure from the previous year’s video.) I’d say the big ones for this year focus on more obscure records/projects from fairly popular artists. Some of those highlights include a Brazilian music collaboration that Ryuichi Sakamoto did, anything from an earlier project (Flipper’s Guitar) by the Japanese pop artist Cornelius, and an MF DOOM-affiliated hip-hop release called Monsta Island Czars.

For the YouTube channel, you have traveled to plenty of record stores. What are some of your favorites and did these shops inspire the layout/aesthetic of your storefront? 

Visually I don’t think any specific store inspired my layout, I think it was designed based on the space I had to work with. All I knew was that I loved shops that had more space to dig around and I never enjoyed claustrophobic shops that have really tight bins and thin lanes. Some of my favorite shops I’ve been to in the USA are: Mill City Sound (MN), Freakbeat Records (CA), Amoeba Berkeley (CA), Rasputin Berkeley (CA), A1 (NYC),  Academy Records Annex (NYC), and of course my homie’s shops Record Safari (LA), Limited To One (NYC) — there’s also shops like Wax Records Inc. (FL), Rust and Wax (FL) and Noble Records (NC) that I want to make a point to visit soon because I’m friends with the owners. Beyond that, there are a ton of great shops here in Portland, especially in North/Northeast Portland. Between Speck’s, Music History, Vinyl Resting Place, Mississippi, and my own shop, there’s a great circuit you can hit. 

For someone as experienced as you, what are some tips you have for new vinyl fanatics?

Do a little research before getting into the hobby. Some topics worth delving into are: what accessories are worth getting, how to protect your records, and what a decent starter set-up looks like. Only buy albums that you want to listen to front to back, as that’s the best way to enjoy a record. Of course, if you’re just in it to collect, buy whatever your heart desires. Understand that the hobby can be expensive, but it’s extremely rewarding if you devote time to it. Most things will eventually get a repress, so overpaying for something in the aftermarket is a choice we all make because we aren’t willing to risk the long wait for a potential repress. Ultimately, just have fun. Remember, it’s about enjoying music first and foremost, not feeling FOMO because you missed a drop or constantly thinking you need to upgrade/calibrate your gear. 

You have seen the ups and downs of the vinyl industry, how do you feel it has changed the most over the years? 

I feel like there is a pretty staunch divide between the audiophile community and the younger, collector-focused community. There is overlap, of course, but they really are approaching the hobby from two VERY different angles. One hyperfixates on finding the best sound and the other often doesn’t even own a turntable and just collects records to sit sealed on their shelf. Neither is more or less valid than the other, and both are essential — as long as people are buying and appreciating records how they see fit, the hobby will continue to thrive. 

Too Many Records is a YouTube channel, a record label, and a record shop. What else do you have in store for the project? What can you tell us about your plans for 2024?

My goal has always been to host a travel show about records. The idea behind it would be “The Anthony Bourdain of Records” — connecting people and cultures with music and why they value certain types of music, the history of that region’s music, and the vibrant vinyl scenes from stores to collectors that inhabit them. I shot a pilot in 2022 called No Skips, which people can watch if they click that link, and my hope is that the right collaborative partner will see this, see the value in it, and help me to continue it in a meaningful way. 

The post VINYL LIVES: Portland’s Too Many Records Goes Brick & Mortar To YouTube Leaders appeared first on Glide Magazine.

Since forming in 2005, Brent has reveled in an idiosyncratic style that doesn’t fit into preordained categories. He’s a country singer whose band is known for dressing in matching black cowboy outfits, yet Amaker is more inspired by art-rock icons like Devo and David Bowie than the usual country mainstays. A Seattleite since 1997, he’s a Southerner by birth, yet Southern crowds are frequently puzzled by his ambitious, performance-art-based stage show and cinematic inspirations.

On the new album, Brent wrestles his demons and subverts frontier masculinity in his trademark baritone drawl in songs about his former marriage, and the evolving as a human that comes along with the territory — both good and bad.

To celebrate the release of the album, we invited Brent to participate in a special installment of VInyl Lives, our regular column spotlighting independent record stores around the country. For this edition, Brent shares a tale of his formative years and some of the record stores that have been a part of that journey. Along the way, he provides plenty of insight on his musical inspiration. Listen to the band’s new offbeat take on Devo’s “Gut Feeling” and read Brent’s tale of records, music, and discovery…

Hello, my name is Brent Amaker. I was born two months after the Beatles made their American debut on the Ed Sullivan show on February 9, 1964. Growing up, I heard stories from my parents and older brothers about that performance and other great moments in music. In fact, my dad even took me to see Elvis on his final tour, giving me memories, I would never forget.

I am the youngest of three sons, and my eldest brother, David, played a significant role in my appreciation for music. He’s an audiophile and responsible for exposing me to music during my early life. After college, David managed a Sound Warehouse in Oklahoma City, which was essentially the Amoeba Records of Oklahoma.

It was through my big brother that I discovered the world of vinyl. And he had all the connections. Even Van Halen made a stop at Sound Warehouse for an “in-store” appearance! David would bring me promotional copies of vinyl on a weekly basis. These were known as “cutouts” because the label would cut the binding of the album cover to prevent resale. I vividly remember him bringing me the first Duran Duran album before it was even on the store shelves. I listened to that record repeatedly for at least a year before anyone else knew about the band. The thrill of discovering new music, whether through my brother or by taking a chance on album art that looked interesting, became my life.

When I turned 18, I formed my first band, and all the influences from my childhood became a part of me. I was drawn to the sounds of DEVO, Kraftwerk, Gang of Four, Iggy Pop, and the Ramones. And it was all on vinyl. To this day, I believe that vinyl is the best way to enjoy music. There’s nothing quite like dropping the needle on a record and listening to a full album from start to finish. It’s how music was intended to be experienced.

In the 90s, I moved to Seattle and witnessed the decline of major record store chains as CDs replaced vinyl, and eventually, streaming replaced CDs. However, the independent record stores found a way to survive and even thrive. As CD sales dropped, true fans of music rediscovered (or discovered!) the magic of vinyl. The surviving record stores were there to provide the products and experiences that we craved.

It was during this time that I discovered Easy Street Records, my favorite independent record store in West Seattle. Located near where I live, Easy Street Records became a haven for music lovers like me. Its incredible selection of rare and hard-to-find albums have made it a treasure trove for collectors. I even stumbled upon a live record of Iggy Pop where David Bowie played in his backing band, a gem that I couldn’t find streaming anywhere. Easy Street Records represents the resilience and passion of the independent music community, offering a tangible connection to the music we love.

While Easy Street Records holds a special place in my heart, I can’t ignore the legendary status of Amoeba Records. With locations in Los Angeles, San Francisco, and Berkeley, Amoeba has become a mecca for music enthusiasts from around the world. During a visit to the Amoeba Records store in San Francisco (after enjoying a beautiful walk-through Golden Gate Park), I was overwhelmed by its vast size and diverse collection. From mainstream hits to obscure gems, Amoeba had it all. Exploring the store for hours, I discovered new artists and expanded my musical horizons. It was an experience that every music lover should have at least once in their lifetime.

Another independent record store that left a lasting impression on me was Waterloo Records in Austin, Texas. I had the opportunity to visit Waterloo while performing at South by Southwest (SXSW) music festival. It is an energetic hub for music lovers. In addition to a massive selection of vinyl records, Waterloo Records hosted live performances during the festival. It is proof of the power of live music and the sense of community that independent record stores foster.

In a world dominated by streaming platforms and digital downloads, Easy Street Records, Amoeba Records, and Waterloo Records represent the power of vinyl. These record stores provide more than just a place to purchase music; they offer a sense of community, discovery, and connection. In my world, I call it family.

So, if you ever find yourself looking for a truly honest musical experience, I encourage you to step into an independent record store. Lose yourself in the rows of new and vintage albums, let the sound of the needle drop move you to a different time and place. Because in that moment, you might just understand why vinyl is not just a format, but a way of life.

The post Brent Amaker & the Rodeo Reflect on Discovering Record Stores Ahead of New LP ‘Philaphobia’ (VINYL LIVES) appeared first on Glide Magazine.

Glide had the pleasure of asking co-owner of The Record Exchange Chad Dryden a few questions about the shop, its history, and its strong sense of community. Read our full conversation below. 

You guys just celebrated 45 years since you opened your doors, what was it like seeing vinyl rise back to the top? How has Record Exchange adjusted to this ever-changing business? 

We’ve been talking about the vinyl resurgence for so long now it’s like vinyl has always at the forefront of what we do, but it truly was an unexpected, unprecedented development in the indie music retail world – never before in the history of recorded music has an “old” format roared back to replace a newer one as the medium of choice. We never got rid of our vinyl section entirely, so in one respect it was easy to build it back up, but in another way, it was a challenge to determine just how far to go with it – was vinyl a passing fad, would we misread the market and overstep the growth, would it go away as quickly as it came and leave us with a glut of inventory, etc. Fortunately, vinyl sales over the last decade have grown incrementally at a reliably consistent rate, and we’ve been able to keep up with it by steadily increasing our orders and expanding our floor space.

How has the shop changed the most over the years? What is the thing(s) you guys do consistently that you’re most proud of? 

Vinyl’s comeback is the center of every modern record store’s story, and it’s hard to overstate its impact. Beyond that, the original owners decided decades ago to turn The Record Exchange into more than a retail store and position it as a cultural hub within the Boise music community, primarily through hosting live in-store performances featuring everyone from local favorites to international superstars. In 2015, we leaned even harder into this commitment to live music by building a permanent performance stage with full production capabilities and one of the best sound systems in town.

You guys hosted a big event to celebrate your 45th, can you tell us what the environment was like at the shindig? What was it like being a part of such a milestone? 

It was an incredible event, one that doubled as a belated retirement party for the original owners, and it served to honor the past and usher in the future with several hundred of our longtime friends and customers in attendance. We are incredibly fortunate to be part of such a tight-knit music scene and to have the support of music listeners who have been coming to the store since the late 70s and those who have only recently discovered us. It’s amazing to look out on the floor and see four generations of customers sharing space in the vinyl racks.

You guys are no stranger to in-store events, what have been some of your fondest memories from some of those? Are there any artists on your bucket list you would like to have in The Record Exchange at some point? 

Josh Ritter, who grew up in Idaho and speaks fondly of frequenting the store in high school, has performed at The Record Exchange several times over the years, and each performance and meet-and-greet has been an unforgettable experience for our customers. Personally, having Jason Newsted of Metallica and my young child exchange a fist bump in our office after a meet-and-greet, and picking up Glenn Danzig from a venue to drive to the store for a signing event, will never leave my mind.

After over four decades in the record business, you guys have seen it all. Where do you see the future of physical music going in the future? Do you think any other mediums like CDs or cassettes will make a comeback like vinyl did? 

Cassettes have made a slight comeback, though nothing like vinyl, and there have been rumblings of a CD comeback that some months seem to be ringing true and other months not so much. If there’s one thing the vinyl resurgence has taught us, it’s that you can never turn your back on a format, even when it seems down and out. There will always be a market, no matter how small, for all of it.

The Record Exchange emphasizes building a community, what do you credit all of the loyalty to? How else does TRE go out of its way to involve the people who shop there? 

I’ve mentioned before that if you look at the DNA of every successful music scene in the world, you will find a spirit of inclusion and collaboration that is focused more on community building than building up bank accounts. We celebrate this by partnering with several venues, radio stations, and independent businesses, and giving our customers a place to go that is more than just a record store, but a place to experience (and also contribute to) the unique fabric of Boise’s music scene.

What is the biggest used collection that someone brought in? What about your biggest find from a used collection? 

Over the years we have purchased several collections numbering in the thousands of pieces. The biggest was probably about 10 years ago when we acquired 80,000 records from a used book store that was going out of business. We thought that collection would feed our vinyl inventory for at least five years, but 3.5 years later, we had sold all but the dregs of it. 

What venues in and around Boise do you all most enjoy seeing live music at?

I’ve seen more shows at Neurolux than any other venue in the world, and it remains one of my favorites, even if it’s just to post up at the bar for a whiskey and a beer when there’s nothing on the schedule. But at the top of my list is Spacebar Arcade, an arcade bar that is steeped in DJ culture past and present and has the best collection of vintage and modern video games and pinball machines in the Treasure Valley. It is a home away from home.  

With 45 years under your belt, what does The Record Exchange have planned for the remainder of 2023? Can you give us hints about what is coming next from Idaho’s premier record shop? 

We have another vinyl expansion planned for 2024, the scope of which has yet to be determined. Earlier this year, we entered a partnership with our next-door neighbor Neurolux, Boise’s long-standing indie rock venue and bar, and one other investor with ties to the music scene to purchase our building and keep it out of the hands of speculative developers who have more interest in leveling buildings to make way for expensive condos and other projects that strip our downtown of its character and culture.

The post For 45 Years, Boise’s The Record Exchange Keeps On Spinning (VINYL LIVES) appeared first on Glide Magazine.

This creative exercise set the template for Pirog’s rich and multifaceted new album called The Nepenthe Series, Vol. 1, released November 10th via Otherly Love. The album places the guitarist’s work in communion with musical luminaries like John Frusciante (Red Hot Chili Peppers, Ataxia), Nels Cline (Wilco), Andy Summers (The Police) as well as longtime collaborators such as his wife, Janel Leppin, and Luke Stewart. With one exception, each of these nine compositions was initiated and conceived by a different collaborator; together they comprise a mesmerizing tapestry that evokes as many different ideas of ambient music as there are individual tracks.

If there’s a through line running across Pirog’s work, it’s a persistent desire to collaborate with musicians who push his creativity in new directions. Each track on The Nepenthe Series, Vol. 1 showcases a different side of his creativity. The album provides a kaleidoscope of approaches, from the haunting ambient drift of “Bernal Heights,” a solo cut that evokes William Basinski at his finest, to the floating unease of “Dense Blazing Star,” an unsettling piece that emerged after bassist Luke Stewart sent him a recording of tapping bass sounds that resembled a blazing fire. “It sounds like I’m playing a synth on that track,” Pirog notes, “but I’m using a vintage fuzz pedal from 1965.”

Several big-name guests bring considerable gravitas to The Nepenthe Series, Vol. 1 sparking Pirog’s ideas without overshadowing him. “There are some people on this record that I’ve looked up to since I was a little kid,” Pirog notes. The musician got to know John Frusciante years ago, after the RHCP guitarist came to a Messthetics show in L.A. After Frusciante commented that he was excited by the guitar playing, Pirog asked him to collaborate. The result is “Aurora” a slow-burn drone initiated by Frusciante playing synth. Wilco’s Nels Cline also appears, weaving a haunting soundscape through diatonic changes on the opening track “Ripples of Light.” “I wanted us both to sound like two hands on the same instrument,” Pirog explains.

Other guests of note include Andy Summers, the venerable former Police guitarist, and Brandon Ross, the jazz guitarist and composer. Summers, who once cited Pirog as his favorite current guitarist, delivered a fully constructed song structure with the melodic, twinkling “Inflorescence,” while Ross provided “Cirrus,” a meditative drone track that weaves in and out of several unexpected tonalities.

To celebrate the release of the album, we invited Anthony Pirog to participate in a special installment of VInyl Lives, our regular column spotlighting independent record stores around the country. Pirog is a proud resident of the Washington D.C. area and has a long history that includes playing with The Messthetics with former Fugazi members bassist Joe Lally and drummer Brendan Canty. For this edition of Vinyl Lives, Pirog selected three of his favorite record stores in the Washington D.C. area and shared with us what he thinks makes them each so special…

CD Cellar – Falls Church, VA

I have been frequenting this record store since I was a teenager so it really does mean a lot to me. They have a massive and excellent selection of jazz, rock, and classical music and have a large amount of audiophile quality and rare pressings as well. With an emphasis on both new and used LPs and CDS, I am sure to find something I need every single time I go there. They used to have another store in Arlington, VA that I would perform at quite a bit but their current space is perfect and they just expanded to include a room devoted primarily to jazz recordings. Highly recommended for every kind of vinyl enthusiast in the DMV area.

HR Records – Brightwood Park

My brother took me here for the first time many years ago when he used to live right around the corner from the store in DC. These days, this establishment is between my home and where The Messthetics rehearse so I’m in here quite a bit. To me, this shop’s real strength is the jazz selection. I’ve bought so many extremely cool jazz records from them by people like Peter Brötzmann, Milford Graves, and Masayuki Takayanagi. Most of the LPs here are used but you’re going to find the classics and some of the more obscure free improv stuff with every visit. This is a super fun store to dig around in.

art sound language – Chevy Chase, DC

This is a relatively new store in DC’s Chevy Chase Arcade but has quickly become one of my favorites in the DMV. It is a highly curated collection of material that specializes in creative and free jazz, free improvisation, experimental and electronic music. They host community events and concerts and I have recently performed there for the first time. A very good selection of books and periodicals are available as well and I find this store to be truly inspired. I feel that DC is very fortunate to have a space like this available. It reminds me of a smaller version of Other Music. For people looking for adventurous music, look no further.

The post Ambient Composer Anthony Pirog Celebrates New LP ‘The Nepenthe Series, Vol. 1’ and Selects His Top Washington D.C.-area Record Stores (VINYL LIVES) appeared first on Glide Magazine.

Glide had the opportunity to ask Rick, Co-owner of Redscroll Records, some questions about his shop, the story behind the record label, and everything in between. Check out our full conversation below:

It appears there is a lack of record stores in Connecticut- what role does Redscroll play in vinyling up that area?

There are some good stores in CT for sure. Some have closed since we opened and some pretty cool ones have also opened. We strive to reach folks from all over whether it be as a destination shop or through our online shops (Discogs, Big Cartel, Bandcamp). We specialize in left-of-center music – carrying a wide range of common titles to be sure, but our passion for music pushes us to always be discovering new and old music we have not yet heard that lights a spark in our mind/heart/soul/gut/whatever part you’d associate with that. We hope to inspire that feeling in others with the selection we bring into the shop and with the associated Redscroll Records label releases, podcasts, in-store shows, and out-of-store events we sponsor or help with and/or participate in. 

How did you choose the location and do you feel you’ve helped start bands or created more music fans?

Wallingford is centrally located in Connecticut. It’s been home to the legendary Trod Nossel Studios and we can view the also legendary Oakdale Theater from our front door. It’s also home to a lot of legendary (I know it’s going to lose meaning the more I say it!) punk venues like the former Knights of Columbus hall (since torn down and turned into condos) and the Wallingford American Legion Post 187 (known locally as the WamLeg – and run officially as the WamLeg after the American Legion decided to vacate the building until recently; the landlord decided to sell the building). Cherry Street Station in town is holding the torch these days with lots of rock and punk and likewise shows. I could go on about the history of music in Wallingford, but generally being in New Haven County and centrally located with easy highway access is key. 

I honestly don’t have to wonder if we’ve fostered any music fandoms or new bands because at this point we’re in our 17th year of operation and kids who used to come in with their folks now come in on their own and tell us about the role we’ve played in their musical journey/life. It’s pretty wild to think of and definitely helps keep the passion alive for me too. 

Were there any record stores that you went to as a youngster that you wanted to kind of model or let inspire you?

Tons! Some key shops that no longer exist: 

Brass City Records (Waterbury, CT. Walt was a mentor to so many. One of  the best to do it! There is a picture of him in his shop here in the store – a nice good luck charm/guardian angel.)

Phoenix Records (Waterbury, CT. This shop had a couple of iterations with a few owners. It was renamed Phoenix after the original burnt down. It was after it was sold off to Karl that I came to know it best. Karl and Damon who managed the shop were very passionate and knowledgeable about rock and metal specifically and I was very into testing that in a CD buying pre-everyone-online era.)

Trash American Style (Danbury, CT. Malcolm can be seen touring the world as a rock star these days in Antiseen or Profanatica. He can also be seen hawking wares at various events still, though there has not been a physical shop in some time. He and Kathy ran the physical shop and it was where you went for punk music and also for the dry sardonic wit of Malcolm who was also very helpful in his way. If you know you know and if you don’t then find him on the road!)

Kim’s Super Video (St. Marks Place, Manhattan, NYC. The incredible selection there for CDs on the first floor and the second floor full of otherwise hard-to-find electronic 12″s was heaven for me.)

Cafe Soundz (Montclair, NJ. This was a small specialty shop, but if you liked what they had it seemed massive! Broad stroke: goth and industrial. Bobby, who ran this shop, was an opinionated stereotype of a shopkeeper and that was part of the fun – we didn’t take that note for our store even if I didn’t take that note for myself. A lot of what I bought he’d ridicule in fact, but it was all in fun; he did stock it after all!)

I could go on with this list for a long time, but those are some key shops for me personally that no longer exist.

You guys have some great store exclusives, how do those come about and what role does Redscroll play in the design/selection of these LPs? 

We have relationships with a lot of like-minded shops and labels and distributors. It’s just kind of through ongoing conversation that these have come up and sprung into being. The Chat Pile that we recently had an exclusive color of was offered to us just as a color variant specific to us and we didn’t ask any further questions; we just loved the idea and said yes. We have one we’re working on right now that we are having a little more of a conversation about in regards to packaging and color. It’s mostly about what the band wants with this one. We’ll see! 

You guys also have a label where you put out some incredible hardcore, how did Redscroll Records come to be? What are your picks for some of the label’s essential albums? 

Hardcore is just one of the types of things we release! We’ve had solo acoustic guitar releases (Alexander) darkwave synth-pop (Revenge Body) psychedelic electronic rock (Hex Inverter) shoegaze dream pop (Dirt Devil) indie rock (Steve Hartlett) and modern synth composition (Antoni Maiovvi) and on and on! Redscroll Records as a label did start with a hardcore compilation in 2000 called “I See Dead People” (so of the time!). From trading that and subsequent releases with other labels and distributors (more often referred to on that level as distros) a small mobile operation began. Josh started the label and would bring the Redscroll releases and all the things he traded for to different punk shows and sell at those types of events. It grew and in 2007 he and I partnered to open the physical store. Check out our Bandcamp to see what we’ve most recently released: https://redscroll.bandcamp.com/

I see you guys host an interview show, and the most recent episode with Ajna was great. How did the show start and who are some guests on your bucket list? 

How the show started is kind of a convoluted memory to me. I’ve been doing college/community radio since I graduated high school. I still work at WESU in Middletown. I’ve also done stints at WNHU in New Haven and WFCS in New Britain as well as a couple others. At some point, Josh asked if I’d want to do a podcast for the store and it just seemed like an extension of that. I already had the experience and a bit of the knowledge base so it began. 

The blurb on what the podcast is:

The Redscroll Podcast is a monthly show (new episodes on the first of the month) that works as a companion to what we do at Redscroll Records in Wallingford, CT USA. We are a record store that has a heavy emphasis on the left-of-center/underground music of the world. Whether it be underappreciated or just has a niche audience, marginalized or just off the radar it’s all of interest to us. With the show, we’ll generally have a localized focus. We’ll discuss what is in our personal rotation at the moment. We’ll talk to guests who have to do with all of the above. And we’ll talk about specific dealings with the store. 

We are locally focused and the state’s biggest music get would have to be Charles Ives so perhaps a seance is for that episode. Other than that there’s no shortage of musical talent in the state and we love spotlighting a different act each month. 

What is the rarest record you’ve had in your store? You guys also buy used vinyl collections, what is the largest collection you’ve ever had to flip through? What are some diamonds you’ve dug out of these collections? 

We’ve had some great collections that we’ve taken in. Early in our shop’s existence, we took in a collection from someone who had entertained the idea of opening a shop one day and had multiple copies of a lot of great hard rock and heavy metal. We also got a jazz collection from a retired shop owner (I don’t recall the name of it, but it was in upstate NY and he retired to CT) that had a lot of early Blue Note stuff. Neither Josh nor I am the type to really hang onto specific rarities in our minds – we leave that to museum curators, but those collections were fun. Among many others really – even just as far as collections go. We’ve had some great recent ones as well.  

You guys host some in-store performances as well, who are some artists Redscroll has hosted? Who are some acts on your bucket list that hope to host in the future? 

We’ve had The Body and Mind Eraser hold some memorable performances in our old storefront’s basement. We had a Mountain Movers show early on in our current storefront’s history that was very memorable and fun. We just hope to have fun shows here for folks who can use a space like ours. I’m not holding out for a particular act or anything. Come what may!  

What is your curation process like overall? How do you balance new vs. used LPs and does your personal taste play a role in it at all? 

For used records, we’re always taking in stuff! We welcome collections just about every day! We generally accept music of all types from the mid-60s to the present day (and exceptions to that rule for early Rock’n’Roll, blues, and some jazz). The biggest part of that curation is really just the condition – we are very much trying to pass along great music in great shape so we do our best to discard the chaff. 

As far as new records go both Josh and I have our certain distributors and labels we have relationships with and we each deal with them and sometimes it overlaps, but we’ve got our sectors basically and we go through new releases almost every day as well. We’re not afraid to ask folks who work for us or different trusted folks in our circle (shopkeep or otherwise friendly folks) what their hot tracks might be or what they think of something coming out. We basically talk about music all the time and read different websites and magazines/zines and just basically try and pay attention. Our personal taste comes into it when we think we can pass that love for music along! So, yeah, pretty often. Chat Pile is a big one. Home Front this year has been on the top of our list and that’s done well for us sales-wise aided by the number of times we’ve played it in the shop. I was just playing Natural Wonder Beauty Concept and sold a copy so that definitely helps! 

With a new month just starting, what does Redscroll have planned for the rest of 2023? Any exciting news/events for fans to look forward to?

MORE! Black Friday and the associated sale. Cuddling in the inside warmth as winter draws near while a record plays in the background. Some release announcements, perhaps. Some more giveaways on our social media feeds. Perhaps some more partnerships. MORE! Records, podcasts, t-shirts, totes, CDs, cassettes, volumes! MORE! 

The post Connecticut’s Redscroll Records Keeps Southern New England Plugged In (VINYL LIVES) appeared first on Glide Magazine.

Glide shifted through the plethora of releases and picked our most anticipated releases of Record Store Day Black Friday 2023. Check out our picks below: 

Artist: Terry Callier 

Album: Speak Your Peace

Release Type: RSD First Release

Terry Callier is one of the most important and underrated figures in modern jazz. He fuses the genre with folk tropes for a kaleidoscope rendition of two of America’s most beloved genres. Speak Your Peace was originally released in 2001 and had Callier modernizing his classic style through collaboration and an updated soundscape. This RSD pressing is done on 180g vinyl and packaged with new artwork. 

Goodie Mob

Soul Food

RSD Exclusive Release  

This Southern Hip-hop classic is being repackaged with a new twist. Goodie Mob’s 1995 release Soul Food coined the term “Dirty South” and is a major reason why Southern Hip-hop became the creative force it continues to be. This pressing is getting done on an RSD-exclusive colorway, the color is yet to be announced. 

Madlib & Guilty Simpson

Before The Verdict

RSD First Release

It’s hard to believe Madlib’s Medicine Show Series is over a decade old at this point. In 2010, the prolific and elusive producer set out to release an album every month for a whole year, a promise he would over-deliver on with the series bleeding into 2011. Madlib’s Medicine Show series gave us Before The Verdict, a monstrous and demanding collaboration with emcee Guilty Simpson. RSD Black Friday will have the album back in print for a limited time only. 

Joni Mitchell 

Court and Spark Demos

RSD Exclusive Release

Court and Spark is Joni Mitchell’s most commercially successful album and RSD Black Friday will have some refreshing takes on this classic LP. Court and Spark Demos feature rough drafts of some of the most beloved songs from the LP like “Help Me” and a piano suite featuring “Down To You” and “Car on A Hill”. These demos will be exclusively available on a single LP this RSD. 

Nas

I Am… Autobiography

RSD Exclusive Release

Nas’ third studio album was famously supposed to be a double disc release. After the second half of the album was leaked to the public, Nas made the decision to release I Am… in 1999 as a single disc. While tracks from this leak have popped up on compilation and 12’ singles, RSD Black Friday has Nas’s initial vision coming to life. I Am… Autobiography will feature two unreleased tracks along with rarities put together in one double LP pressing for the first time. 

Various Artists

Light In The Attic & Friends

RSD Exclusive ReleaseThe famous reissuing label Light In The Attic is celebrating a big milestone in a major way. After 22 years of unearthing and repressing some rare and exciting albums from around the world, Light In The Attic & Friends looks to put a bow on the label’s first two decades. They are bringing in a cast of modern musicians to cover some of the label’s biggest hits and RSD as an exclusive pressing on limited-colored wax, a reimagined cover art, all in a wide-spine jacket. Light In The Attic is bringing along the likes of Charles Bradley, BADBADNOTGOOD, and Iggy Pop to make this compilation possible.

Norah Jones 

Playing Along

RSD First Release

Norah Jones has been an active participant in Record Store Day over the past few years and this Black Friday is no different. This time around, Jones will be pressing songs from her Playing Around podcast, a show where she interviews and collaborates with musicians from around the world. These songs are being put on wax for the first time ever and will include collaborations with Jeff Tweedy, Mavis Staples, and Lukas Nelson. 

Gram Parsons and the Fallen Angels

The Last Roundup: Live from the Bijou Cafe in Philadelphia March 16th, 1973

Amoeba Music and Polly Parsons have announced the release of a special two-LP live recording from Gram Parsons and the Fallen Angels titled The Last Roundup: Live from the Bijou Cafe in Philadelphia March 16th, 1973, the first available live performance of Parsons and the Fallen Angels and his first new solo material to be released in four decades. 

For a full list of RSD exclusives please visit here

The post Glide’s 2023 Record Store Day Black Friday Picks: Joni Mitchell, Nas, Terry Callier, Goodie Mob, Gram Parson appeared first on Glide Magazine.

Glide spoke with Lucky Records’ owner DJ YNOT to discuss how the shop came to be, the story behind its eye-grabbing logo, and everything in between. Check out Lucky Records and our full conversation below: 

You guys have a beautifully done mural dedicated to some iconic hip-hop acts, Who painted the mural? What inspired you to dedicate it to the likes of J Dilla and MF DOOM? 

The Mural was done by our muralist friend from Chicago Jake @lookatart. Originally when he was in town he drafted another mural but when he heard DOOM’s untimely passing he went through an audible last minute. We’re big fans of both artists, in fact, my former partner Devin runs the Nature Sounds Label. He had a working history with both artists having released DOOM and Dilla projects through the years. Last time I checked someone had added the mural on Dilla’s Wikipedia page. 

You guys seem to have a focus on hip-hop overall, Is that the genre you feel represents Lucky Records the most? What are some of your favorite hip-hop vinyl packaging over the past few years? 

Yes, I’m a lifelong DJ with hip-hop being my entry point into vinyl. We try to keep a well-rounded inventory but my personal taste does bleed over. We do lean towards hip-hop, soul, funk, reggae, Disco, Salsa, and Jazz. When it comes to Hip-hop packaging, our favorite there are 2 that come to mind. Freeway and Jake One’s The Stimulus Package is a gatefold that folds out to a Dollar bill with the artist’s face. Also, People Under the Stairs Highlighter came with a nice foil stamp and the inner sleeves and record label have aspects highlighted tying together with Yellow Highlighter color vinyl. 

Lucky Records has a fantastic logo that looks great on your merch, can you tell us the story behind your famous cat mascot? Who designed the logo and why do you think it represents Lucky Records so well? 

Thanks, so our logo ties into a bigger theme. Our shop is actually tucked into a small space in the front of an Asian-themed food hall called 1-800-Lucky. The Lucky Cat from Japan is meant to welcome and greet you. It is considered good luck to have in your home or business. So when we worked with the designer Masha to create it we used this symbolism. Remember the only change we made after the initial iteration was adding the 45 adapter to the collar. Keeping with the theme we have a Giant Lucky Cat by our door sitting on top of a cooler stocked with Japanese soda “Ramune”.  

It seems like you guys have established yourselves as a powerhouse in the Miami scene, can you give us a brief history of Lucky Records and how you guys ended up opening in Miami? 

Miami at one point only had a couple of record stores. When an old DJ buddy of mine Sven approached me with the space, I had to jump on it. He and his partners were opening the 1-800 Lucky food hall and had a small retail space in the front. The initial iteration was a Bodega with records and I had partnered with Devin from the label Nature Sounds. Post-pandemic he has since left to focus on the label and personally, I’ve (semi) retired from being a full-time DJ to focus on the store. It has been a great pivot for me as it allows me to continue to share music without being in a club till 5 a.m. 

We’re in the Wynwood arts neighborhood of Miami which has grown leaps and bounds in the last decade. In the last 7 years, we’ve managed to grow a nice following of locals and international collectors.  Although our store is smaller than most, we try to curate it well. Given the small space, we cycle through records pretty frequently so every time you come there will be something new. 

I see you guys buy records, What was the biggest collection you guys had to dig through and what sort of gems did you find? What is your process like when deciding to purchase a collection? 

 Records and record stores for me are about musical discovery.  In the last few years, I’ve bought all sorts of collections. I think the largest is 10,000 records. It keeps me busy digging through boxes and unearthing gems. Miami is a really diverse city with folks from all walks of life, records I may have passed on as a collector back in the day I take a closer look at. Always looking for old Miami records from Independent labels of all kinds of music: Gospel, Haitian Jazz, 80s Boogie, etc. In terms of gems, there are too many to name. Purchasing a collection can be a bit of a gamble. Obvs cleaner records are preferred and someone who has a passion for music is what I look for. You never know until you look.

What is the rarest/most expensive record to come through Lucky Records’ doors? Are there any hidden gems you’re still hoping to come across? 

We’ve had some Heavy pieces come through the shop. Found a nice Jazz collection some years back and in it was a stack of minty OG Blue Note Jazz. Sold Duke Person’s Flight to Jordan for four figures. There are still some indie local records we’re hoping will fly under the radar.

What is your curation process like in general? How do your bins represent your personal taste while also catering to your customers? 

Curation is tricky with used records and often is determined by the collections I find. The bins definitely have some nice selections of records I would want to take home. However, ultimately our focus is a wider scope and the mission is to get good records into the hands of folks who will enjoy them.

You guys have a love for cassettes more than any other shop we’ve come across, what draws you to that particular format? What are some of your favorite old/rare cassettes you guys have in stock currently? 

Cassettes socially aren’t the best format but it lets the full album format shine. Sure, you have to fast forward and rewind but it is more complicated to skip to the next song. Nostalgia is what draws me to the format, as a kid this was my primary source of music in that small window post-vinyl and pre-CD era. We just got a nice OG 90s rap collection of tapes in. It included an original copy of Nas’s Illmatic, a grail for 90s rap aficionados. 

I see you guys recently had the great Yussef Dayes in for a signing, do you guys host events like this often? What are some of your favorite memories from these in-store events? 

Hey yes, we had Yusseff in-store when he was in town to do a show. He and his band hung and signed records. We don’t get a chance to do these as often as I’d like but it makes them more special. My personal favorite was having Adrian Younge play some records. He bought out a box of rare 45s to play on our turntables.  

With the second half of 2023 closing in quickly, what does Lucky Records have planned for the rest of the year? Any exciting happenings you can let longtime fans and newcomers in on? 

Time flies when you’re having fun. Currently crossing our fingers hoping to get through hurricane season unscathed lol. We plan on dropping some new merch collaborating with Miami artists before the end of the year. We have been working on a reissue label as well breathing new life into some unearthed gems. Be sure to follow us on social media to see what happenings are going on and records are going out into the bins @luckyrecorsmaimi  

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