Just prior to the morning hour at which most liquor stores open, Don Byron and I are sitting outdoors at a sidewalk cafe on a steamy Park Avenue South (Technology Gulch)when a scene breaks out on the sidewalk.
Byron (head turns and he murmurs): "Oh my god."
A stringyhaired, smelly, obviously intoxicated woman staggers after a younger, taller man who's also worse for wear, and hollers in a drunken growl: "I got my own phone now. Yes it is. It works you used it."
Byron (laughing): "It's the metropolitan wino scene. You know what I mean? You know the scene in Firenze, now here it is in New York. It has all the elements: the dirty clothes, the ruddy skin, the formaldehyde lips."
The movement towards a super premium vinyl “experience,” and the larger notion of vinyl as a lifestyle is getting another eager supporter as a new subscription-only label, Newvelle Records, launched this week via a Kickstarter campaign.
Last night in a torrential rain storm, I trucked northward along the Hudson to Tarrytown, NY. A half hour's ride across the Tappan Zee bridge and we were in Piermont, NY at a club called the Turning Point.
So there I am, sitting eating my lunch, watching the news on TV, waiting like the slavering dog that I am for more Mel goes Mad, when none other than Alice Cooper a.k.a. Vince Furnier, he of the large pearly whites and the exquisitely died hair, comes on CNN and begins batting his bright eyes and cheerfully expounding on his new youth center in Phoenix.
One of the many musical sawhorses that I often put the spurs tobeing a pain the bass just comes with the territory I’m afraid7#151;is the whole bit about why labels who are all hurtin’ right now don’t spend more time digging in their vaults and hauling out treasure in the form of unreleased studio material and especially live shows. Well, the emerging empire that is Concord Records (proud owners of the catalogs of Telarc, Fantasy and now, Rounder Records), a label whose judgment I have questioned in the recent past (Stax Does the Beatles, WTF?), released a killer record earlier this summer that’s been finding its way back to my Musical Fidelity CD player as of late, Otis Redding, Live on Sunset Strip collects performances that didn’t make it onto the two previous albums, In Person at the Whisky a Go Go and Good To Me: Live at the Whiskey A Go Go Vol. 2, that came from a three night stand at the Whiskey in L.A. over Easter weekend 1966. While the set list of the three full sets on these two CDs contains some repetitions, it’s great to hear