Wednesday, December 23, 2015

Jordan Pries & Electric Kitsch


Celebrate Record Stores

Jordan Pries

 &

Electric Kitsch

 

I’ve known Jordan Pries for several years now. Initially I rode his heavy metal wave with Beast in the Field. His band played White’s at least a half dozen times and each show was successful from any angle through the looking glass. They had plenty of fans and the music was simply stunning, hard core and melodic. He was thoughtful and articulate, not just a raver in a rock & roll band. I made a few trips to Electric Kitsch, his record store and I was struck by his mild manner, gift for gab and his love for vinyl. As we made tentative steps toward friendship, I invited Jordan over to my home to sell him some vintage vinyl including the MC5, SRC, Manfred Man and the Spencer Davis Group. I was amazed at his vast knowledge of classic sixties rock & roll and his academic interest in the value of these long forgotten nuggets. Jordan knew I was gradually disengaging from my collection and helped me determine the value of my collection of 45’s, EPs and those wondrous long players, round black plastic with a hole in the middle. I loved the cover art, liner notes and the printed lyrics. I could pick up the cover and read it like a book scouring for any true hint about the character of my heroes. I see Jordan Pries as the keeper of the flame. Electric Kitsch is now in a class by itself, ready for the next big thing.

Celebrate The Record Store. Vinyl is alive and well!

Do you see record stores as an anachronism?
I really don't see them as being archaic, or old-fashioned, as some would say. Music is an art, people will constantly, and consistently be creating it. Record stores will always be an outlet for that art. Nothing is more satisfying than walking into a Record Store, searching for that lost treasure, or an discovering a new treasure. Records have been printed for over 100 years (in its current form), there is an endless supply of them. There isn't enough time to find them all, or listen to them all, which is why I think Record Stores will always be relevant. People will continue to search for them. Not only is this a record store, but it's a community. One of my favorite stories (names changed to hide identity) is this one: When we opened the store, even before we opened, this gentleman, we'll call him Jack, came around every day to say how excited he was about the store. Jack has been a regular patron since we opened. People who thought Jack moved away from Bay City years ago, had no idea he was still around! He was reunited with friends, more people started coming around, hanging out, communing at the local record store! How cool is that!?

 

Do you believe that record stores are being systematically wiped  out by digital downloads, internet mail orders, big box stores. (Think Walmart), supermarkets?)
I don't believe that these sources you mentioned can wipe out record stores. People, like me, and you, love the tangibility of objects. There is a feeling you get when you hold something, you can touch it, feel it, discover it. The ones who enjoy that feeling, are immune to the instant "gratification" the internet may provide. I am completely indifferent to YouTube, mail orders, eBay, etc... I don't even care they exist, and there are others who feel the same way.

 

 

Does it seem odd to you that so many major record chains are outside of the USA incl HMV, Virgin Megastores, FYE, Tower etc?
-I believe the US has always been behind Europe in the arts/music. It seems like they are more important overseas, and even in Canada. Certain countries actually give money to artists and musicians who are serious about what they do. It's promoted to an extant where artists can make a living at it. And I think that is why Europe is having success with record stores, festivals, etc... it's more mainstream, and considered important.

 

In your view Why have so many US record stores (big and small) folded including Tower, Sam Goody have closed there doors and yet Rough Trade is expanding stores in London and New York?
-I believe there is a time, and place for everything. Some trends catch on quicker than others. Where there are trends, people gravitate to. New York and London have always been places for people to look for trends, they are places where people make things happen on a larger scale. That's why they are some of the most visited, revered cities in the world.

 When did you open your record store? Did you have other stores
We opened the doors at Electric Kitsch on June 22nd, 2012, and had no idea what we were doing, but did it anyway. It's our only store, but we're hoping to have a larger location in the future.

  What do/did you pay distributers for new vinyl releases
We pay what they charge! The cost is different from label-to-label, distributor-to-distributor. Going with smaller labels, and distributors will get you a better cost, but sometimes the convenience of a One-Stop (a large distributor carrying many, many titles) is key,, but you'll pay more 

Do you buy and sell you used records. What do you usually pay for used records?
We definitely buy, and sell used records. It's the bulk of our business, and usually the biggest money maker. Sometimes buying them is difficult, for many reasons. We'd love to give people as great of deals as we can, but many folks just don't understand that we to make money, and it can get frustrating. For the most part, we have to buy records at a low, low rate, unless it is something incredibly rare, and valuable. People also don't realize this: Say I buy a record for $1, but it's worth $10. Some might consider that a rotten deal. The thing is, now I have to sell it. It might sit for months, and months, and then maybe get marked down, and still not sell. So now I've been sitting on this record for five months, and while I only have $1 into it, is it even worth it, to sell for $6 or $7? Should I have bought it for even less? It's a really tough task, and it's delicate, because you can't explain the business and logistics to someone selling you records in ten seconds. The risk is all on me. If you want cash for your records, I can give you cash. But I can't pay you what I don't have, and usually record stores don't have much.

 What do you gauge their value you on?
There are several things, condition, and rarity. But sometimes you have to take into consideration what people want. If something is a hot seller, it doesn't matter how rare, or not rare it is, the price has to stay high. Take for instance Beatles, Zeppelin, Pink Floyd. While there millions, and millions of those records out there, everyone wants them. The demand must meet the price, which is why you see those records sell consistently for $25+, depending. 

 What do you pay for the purchase a big collection of vinyl – LPs,  78’s or 45’s
If someone is looking to get rid of the whole she-bang, the price has to be low. Record prices change day-to-day. You always have to buy for the lowest price possible, no matter what. In this area, the demand for 45s and 78s are so low, that I rarely buy them unless it's really sellable.

 

 It seems that vinyl records may be here to stay in contrast to CDs Do you agree? Why did CD/’s fall from grace?
I think the reason CDs have had their time is that CDs were marketed as "sounding better", and "lasting longer" than vinyl, and they don't, in any regard! They sound harsh, shrill, lifeless, terrible low end, and they actually start to break down. I almost get dissatisfaction when holding a CD. It's plastic, it's small, it seems like the cases are always broken, haha. Plus, there are just so many more records out there than CDs! 

How do you determine value of these products, memorabilia CDs, Vinyl 
There are a number of factors, internet sales, online databases, and the area you are in. I would say the cost of living in an area can also determine prices, and how many customers one store generates. 

Do you use eBay or Amazon or other online sources to buy or sell product?
-Sometimes one must use evilbay to get the most out of a particular product.  

Do you use media to promote your store?
Social media has played a large factor in promoting the store, especially Facebook. We can make updates, post pictures, events, and it goes out to thousands of people. However, word of mouth, to me, is still the best advertising.

Tell me about the influence of Record Day in April?
Record Store Day seems to have extreme pros and cons. On one hand, it's Christmas x 10 for Record Stores. On the other hand it, has turned record collecting into a piranha feeding frenzy for people who generally don't care about your store, making you want to pull out your own teeth. But I'll always participate.

What does Record Day mean to the collector?
Is this going to be anonymous? I don't think it's really for collector's, to be extremely ugly, and honest. It seems to be for people following a trend. I understand the hypocrisy behind that statement, because I own a record store that participates in the 'holiday". I like the idea behind it, getting people OUT to local record stores, supporting the small people, and businesses of the world. But there are always push-backs, too. People wanting to hoard all the releases, selling them on eBay, stores putting releases on eBay before RSD! It's almost a little too much.

Do repackaged records and boxed sets have value?
Yes, of course. For people who love music, that don't care about original pressings, imports, etc... that just want vinyl to listen to, they are wonderful. I own my represses simply because originals are too pricey, and I just want to listen to the darned thing. 

Do you make money on record day?
Record Store Day is the only "day" we make money.

 How much product do you sell? do you make money (ballpark) –
Total product, including tax for this past year was $5,885.18.

 Is it profitable?
Profit wasn't all that much, just over a grand, after all the expenses, food, drinks, paying out the bands that played, etc..

 Are you a vinyl history buff - can you speak to the history of  record stores as you know it and the ascendance of 12 inch and 45rpm records as well as the physical pleasure of holding a record and record cover in your hand?
I like to think that I am. I generally look for different things that most people don't look for. I would say 99% of music listeners just want to listen to what they're familiar with. For me, that's not good enough. I want weird percussion albums, Latin American Harp music, Turkish Psych, I want it all! I have a friend who hunts on YouTube for all these underground bands. For me, that does nothing, it's boring and it's trite. I want to have it in my hands. Anyone can go on YouTube and search "Mexican Psych", and find hundreds of videos. But that is hogwash as to holding the LP in your hand! I want the physicality of it. 

 Can you talk about the collecters thrill of finding an LP or 45 that that you’ve searched for years and finally found it?
I've definitely had those moments before! It's like finding that "great, white, whale", something you thought you'd never see, and then there it is, right in front of you! The most recent treasure was finding an absolutely mint copy of Edgar Broughton's "Sing, Brother, Sing", in the grossest garage I've ever been in. That was, like, a beacon of light, you know, when the choir starts singing!

Jordan Pries Electric Kitsch - Owner, collector, musician!

Monday, December 21, 2015

Todd Rundgren Live @ The Fillmore in Deroit

 
 
 
 
 
 
 
A Wizard
A True Star
                                    December 9thLive @ the Fillmore
Todd Rundgren
 
 
Todd Rundgren may be one of the most misunderstood icons in modern rock music. In a career that spans 50 years Rundgren is known as a producer as well as an artist. At age 16 he developed a passion for music and memorized Gilbert & Sullivan songs. He knew their entire libretto and became an outcast at the very same time he began to dig guitar-based rockers like the Beatles, Stones, and theYardbirds as well as the cool Philly sounds of The O’Jays and Delfonics. His first stab at fame was with Woody’s Truck Stop, it was a gig that lasted about eight months. By 1967 Rundgren formed the Nazz as way to open Pandora’s Box and become America’s answer to the Beatles. Along the way he had a spectacular alpha dog hit entitled Open My Eyes. It was covered by Roy Wood & the Move  and every other bar band across the stretch of the globe. Pretty soon he caught the eye of Albert Grossman who built Bearsville Studios near Woodstock and managed the careers of Bob Dylan, The Band, Janis Joplin and others. At the time I didn’t care a hoot about al this and that but I dug this quirky little song entitled We Gotta Get You a Woman. It was deliriously stupid in a cool man-cave way. Nobody took it seriously because it was off the hook. I loved it! But when Todd’s 1971 masterpiece Something Anything hit the stores I was there, it was a stoned masterwork for the Todd-O-Matic . It contained Hello It’s Me, I Saw the Light, Couldn’t I Just Tell You and a whole box of other gems. And just as I thought Rundgren hit his power-pop stride, he switched gears with a Wizard, A True Star (one of Rolling Stone’s list of the 500 greatest albums of all time). It was psychedelic and soulful and totally whacked. I loved it. During this time Todd toured as a one man show followed by a full band treatment. He also took his new band Utopia on the road. I was lucky to see both versions though I never quite got into Utopia’s long and drawn instrumental excursions. When I mentioned this to the owner of my favorite record store, he simply stated that I did not understand more progressive music. He was probably right. Rundgren was known as an in-demand producer turning the knobs, bringing in big monitors, limiters, compressors even the kitchen sink. But one of his most amazing accomplishments was helping Grand Funk to become more serious about songwriting and musical craft. It was total genius to bring Donny Brewer out from behind the drum kit to lend another voice to the saga . We’re an America Band, Walk Like a Man, Some Kind a Wonderful were stone gems that kept the Grand Funk name up front up to this day on oldies stations across the planet. But now I’m on the cusp of seeing my hero Todd Rundgren one more time at the Fillmore in Detroit, can we still be friends?
                                                                 
 
                                                                          

 
 
A full house greeted Todd Rundgren as walked onto the stage. It was a true love fest between the artist and his disciples. The show opened with an immaculate reading of I Saw the Light. Rundgren was in good voice though he sings at a lower key that when he first released it. Back then, he sounded like a brassy Carole King, now his baritone is strong and convincing and there is no chance for any cool falsetto. The background harmonies were heavenly with all five of the musicians adding their vocal parts. The crowd was ecstatic.
The band consisted Kasim Sulton (bass, vocals), John Ferenzik (keyboards, vocals), Jesse Gress (guitar, vocals), Prairie Prince (drums, shades) and Todd Rundgren. It was an economical outfit who could do more with less, a small band with a big band cluster of sounds. Rundgren tipped his hat to his Philly roots with a powerful execution of Open My Eyes, the great power pop chestnut by the Nazz, it was one of the highlights of 1968.
Rundgren enjoyed bantering with the crowd especially with his version of kidding on the square, mocking his own long career in the business;
“This is the walking dead star for those that have been in a coma for 45 year.  Do you think something is wrong with Detroit; nothing is wrong with Detroit! If these songs are what you hoped for, a greatest hits list, then the show is already half over!”
The next song was a popular track on Something/Anything entitled, It Wouldn’t Have Made Any Difference. Todd sang without his guitar, the tempo was slowed down, soulful and passionate. It’s about love gone wrong.
Buffalo Grass is an incredible rocker about truth revealed. It has a big throbbing bassline, keyboard trills and syncopated rhythms that sound like Buffalo crossing the trails. It got real, aided by an existential guitar workout with an exquisite interplay between Rundgren and Gress. This segued into Can We Still Be Friends from the Hermit of Mink Hollow LP…the piano led trip was followed by brilliant accapella harmonies.
Todd continued the rap;
“Now we are actively defying the 45 year old coma…and I just did the setlist back stage. Who is here for Trump... President Sphincter Head.”
Todd changes course with a rap about sex police, the separation of church and state and getting the fundamentalists.”Who you think your messing with sweet clean and guilty.” It was all done tongue in cheek. At one point Todd intoned, “This is the Kasim Sulton Show.“
Fascist Christ is down in the playlist but it strikes a chord with Rundgren’s devotees. Todd does a bit of accapella singing “Old time religion, it’s good enough for me” and gets the crowd worked up and singing along.
Bang the Drum is a goof but it’s a durable and loveable ode to childhood memories, using music to drift away from the boredom of the classroom. Rundgren has sung it at several of Ringo Starr’s All Starr Band concerts, they remain good friends to this day..
Prairie Prince deserves special mention, he’s a superb drummer and a founding member of the Tubes and a founding member of Journey and he’s performed with Todd Rundgren on many occasions. Tonight he was in great form, dressed up in white cardboard glasses tinted with a pink lens. It was his alternate rebellion; like a woman dressed to the nines but she’s wearing boxer shorts underneath.
Rundgren starts another rap near the end of the show, “Yes, I was from Philly”, then shifts to a 12 bar blues, followed by a funked up big bottom soul music reminiscent of Sly & the Family Stone. Rundgren’s guitar work is phenomenal, I forgot just how powerful he was and how form and technique give way to his uncommon harmonics. He can play it soft and cool as well as hard and wet. He is truly a heavy metal rocker, an unappreciated  guitar god!
Todd funks up the show with the spectacular Sometimes I Don’t Know How to Feel. It is an ode to revelation and conquering fear. The next big treat was Todd’s homage to soul music. He conjures up the colorful images of soul music in the sixties; lots of color and big bad afros.  He recalls the days when The Impressions, Miracles and Marvin Gaye created these incredible harmonies and big messages about freedom. Todd created a winning triumvirate of soul music that included I’m So Proud, Ooo Baby Baby and I Want You. He finished up the night with two of his greatest songs, Couldn’t I Just Tell You and Hello It’s Me. He also encored an anti-war epoch with the lyric, “I Won’t Go to War.” It was filled with rage, anger and truth. The night was a flawed masterpiece, a triumph that incorporated good vibes, great songs and social consciousness. It was perfect!
                                                                                                                                                    
 Peace & Love
Bo White


Sunday, August 2, 2015

The Rolling Stones Live @ Comerica Park




                                                                        
The Rolling Stones

July 8th, 2015

Live in Detroit

By Bo White

 

After all my years of attending concerts I’ve come to the conclusion that my concert days are coming to an end. Don’t get me wrong I love the music and the songs but I don’t like people, especially concert goers and I’ll tell you why; these nincompoops stand up during the entire show and block my view of everything including the screens , sing every effin’ lyric of every song, stink of beer and cigarettes, smoke marijuana but won’t share. Then there are all those yuppie dinks, walking tall, shoulders back like they have a stick up their collective butts. They are smug and self-righteous and never actually listen to the music; instead they talk about driving the Rover over to their summer residence in Charlevoix.  But really now, I’m not here to gripe to you about my curmudgeon-like approach to life; It’s just my fear of losing my passion for rock & roll and my ongoing battle with father time. It’s this inevitable I will grow old. But until I take my last breath, I will live it to the hilt. This brings me back to rock & roll. The Rolling Stones will be performing in Detroit in a huge stadium made for professional baseball. Back in 1972 I bought four $10 dollar tickets to see the Rolling Stones at Cobo Arena. They had just released Exile on Main Street and they were on the top of their game. I was enjoying a busy summer. I helped roof and repair city school buildings in Saginaw, got up a 5am, got to work at 6:30am and patched roofs till 4:30pm. Then I would hit the clubs; visit with semi-automatic girlfriends and take in all the Dionysian delights a young man might covet. After a month of serious debauchery, alcohol and weed I came down with a serious attack of mononucleosis. It knocked me down for the count. It took me a good five months to heal and an entire year to regain my strength; my friends Garno & the Nabber visited me while I was convalescing. When I asked about the concert, they said “It was the best show EVER!!! I meekly smiled and mumbled insincere thanks. From that day on I made a promise that someday I would see the Rolling Stones. I want to dig Satisfaction in all its fuzzbox glory and hear those deep cuts that kick it out. Just listen to Keith Richards guitar work and his open tuning technique that worked so well on Can’t You Hear Me Knocking, Brown Sugar and others

Ladies & Gentlemen…The Rolling Stones

The setlist was tight, just what I expected, hits mixed in with deep cuts. Before the show opened up, the fans had an opportunity to pick one of four or five songs. The song that got the most votes was added to the setlist. I picked Rocks Off and it made the list, it proved to the fans favorite. The band was tight and Mick Jagger proved to be a charming front man. He came prepared, held his hand, palm up as he pointed to the exact spot in the the southern mitten of Detroit. He won the crowd over by mentioning Bob Seger and Kid Rock and congratulated the Detroit Tigers on their regional championships for the past five years. The dude did his homework.
                                                                  


The show opened with a collage of images of the stones through the stages of their long career. Then the band walked onto the stage with a roaring approval by the fans. Jumpin’ Jack Flash opened the show. This was a high energy set with the four long time members of the Stones taking the stage hostage. Jagger’s soulful baritone was powerful. He sang and danced and mugged for the crowd. He’s a showman who possesses an improbable stamina. 70 years and counting and Jagger still has the gris gris. Ronnie Wood’s slide was incredible, he worked his craft with an easy aplomb. Charlie Watts is an incredible jazz drummer who happens to play rock & roll. He does that hesitation beat and holds his sticks properly like we were taught in junior high school. Next up was a spirited It’s Only Rock & Roll, a hard rocker with a heavy beat and great slide work by Ronnie Wood. Jagger changed the lyric to “you think you’re the only girl in Detroit town.” By and large all those golden rock solid chestnuts were faithfully rendered for the masses. And we loved them for it. It brought me right back to when Satisfaction and Honk Tonk Women carried me over the edge of civility and into more urgent carnal desires. Jagger pumped up the crowd over and over again. He needed only to shout out , “Hi Detroit Michiganders and we were all his, hot and ready!

Exile on Main Street garnered several songs, it is truly one of the greatest Stones LPs . I loved Keith Richards vocal performances on Happy and Before They Make Me Run. The Sticky Fingers was represented by a lusty version of Brown Sugar and Bitch, gotta hand it to Jagger, he sustained a high energy level throughout the 2 and ½ hour show. He even delivered an incredible falsetto on Moonlight Mile, a song about sadness, regret and redemption. Jagger is becoming a singer!

He may not be a singer per se but he is an expressive vocalist. He danced around the stage all night and never let up. He’s aged well! The Ronnie Wood/Keith Richards alliance is what makes the music jump, scream and electrify. Charlie Watts tightened it up.  Honky Tonk Women is truly a masterpiece of carnal delights. Jagger was up for the task and he delivered. The background singers were part of most of the songs. Gimme Shelter was a highlight. Mick sang the lyrics like a man possessed…rape, murder is just a shout a way; love, sisters is just a kiss away, a perfect dichotomy with really no resolution. A true masterpiece!

The encores included You Can’t Always Get What You Want (with members of the Oakland University Choir). It was incredible!
 
 

 

The Stones ended their performance with a raucous and sloppy (I Can’t Get No) Satisfaction, it was the perfect foil to the digital age!

At the very end of the show, following the encores, the symbol of the Rolling Stones big red tongue morphed into the Detroit Tigers logo! This was followed by an incredible fireworks display; it was totally unexpected but it was the perfect end to an incredible night of music.

P.S. Rolling Stones tee-shirts cost $50 in the stadium, $20 outside the stadium and $10 down the block down
  

Monday, January 19, 2015

Record Stores - Electric Kitsch and Jordan Pries


 
 
 
Celebrate Record Stores

Jordan Pries

 &

Electric Kitsch

 

I’ve known Jordan Pries for several years now. Initially I rode his heavy metal wave with Beast in the Field. His band played White’s at least a half dozen times and each show was successful from any angle through the looking glass. They had plenty of fans and the music was simply stunning, hard core and melodic. He was thoughtful and articulate, not just a raver in a rock & roll band. I made a few trips to Electric Kitsch, his record store and I was struck by his mild manner, gift for gab and his love for vinyl. As we made tentative steps toward friendship, I invited Jordan over to my home to sell him some vintage vinyl including the MC5, SRC, Manfred Man and the Spencer Davis Group. I was amazed at his vast knowledge of classic sixties rock & roll and his academic interest in the value of these long forgotten nuggets. Jordan knew I was gradually disengaging from my collection and helped me determine the value of my collection of 45’s, EPs and those wondrous long players, round black plastic with a hole in the middle. I loved the cover art, liner notes and the printed lyrics. I could pick up the cover and read it like a book scouring for any true hint about the character of my heroes. I see Jordan Pries as the keeper of the flame. Electric Kitsch is now in a class by itself, ready for the next big thing.

Celebrate The Record Store. Vinyl is alive and well!

Do you see record stores as an anachronism?
I really don't see them as being archaic, or old-fashioned, as some would say. Music is an art, people will constantly, and consistently be creating it. Record stores will always be an outlet for that art. Nothing is more satisfying than walking into a Record Store, searching for that lost treasure, or an discovering a new treasure. Records have been printed for over 100 years (in its current form), there is an endless supply of them. There isn't enough time to find them all, or listen to them all, which is why I think Record Stores will always be relevant. People will continue to search for them. Not only is this a record store, but it's a community. One of my favorite stories (names changed to hide identity) is this one: When we opened the store, even before we opened, this gentleman, we'll call him Jack, came around every day to say how excited he was about the store. Jack has been a regular patron since we opened. People who thought Jack moved away from Bay City years ago, had no idea he was still around! He was reunited with friends, more people started coming around, hanging out, communing at the local record store! How cool is that!?

 

Do you believe that record stores are being systematically wiped  out by digital downloads, internet mail orders, big box stores. (Think Walmart), supermarkets?)
I don't believe that these sources you mentioned can wipe out record stores. People, like me, and you, love the tangibility of objects. There is a feeling you get when you hold something, you can touch it, feel it, discover it. The ones who enjoy that feeling, are immune to the instant "gratification" the internet may provide. I am completely indifferent to YouTube, mail orders, eBay, etc... I don't even care they exist, and there are others who feel the same way.

 

 

Does it seem odd to you that so many major record chains are outside of the USA incl HMV, Virgin Megastores, FYE, Tower etc?
-I believe the US has always been behind Europe in the arts/music. It seems like they are more important overseas, and even in Canada. Certain countries actually give money to artists and musicians who are serious about what they do. It's promoted to an extant where artists can make a living at it. And I think that is why Europe is having success with record stores, festivals, etc... it's more mainstream, and considered important.

 

In your view Why have so many US record stores (big and small) folded including Tower, Sam Goody have closed there doors and yet Rough Trade is expanding stores in London and New York?
-I believe there is a time, and place for everything. Some trends catch on quicker than others. Where there are trends, people gravitate to. New York and London have always been places for people to look for trends, they are places where people make things happen on a larger scale. That's why they are some of the most visited, revered cities in the world.

 When did you open your record store? Did you have other stores
We opened the doors at Electric Kitsch on June 22nd, 2012, and had no idea what we were doing, but did it anyway. It's our only store, but we're hoping to have a larger location in the future.

  What do/did you pay distributers for new vinyl releases
We pay what they charge! The cost is different from label-to-label, distributor-to-distributor. Going with smaller labels, and distributors will get you a better cost, but sometimes the convenience of a One-Stop (a large distributor carrying many, many titles) is key,, but you'll pay more 

Do you buy and sell you used records. What do you usually pay for used records?
We definitely buy, and sell used records. It's the bulk of our business, and usually the biggest money maker. Sometimes buying them is difficult, for many reasons. We'd love to give people as great of deals as we can, but many folks just don't understand that we to make money, and it can get frustrating. For the most part, we have to buy records at a low, low rate, unless it is something incredibly rare, and valuable. People also don't realize this: Say I buy a record for $1, but it's worth $10. Some might consider that a rotten deal. The thing is, now I have to sell it. It might sit for months, and months, and then maybe get marked down, and still not sell. So now I've been sitting on this record for five months, and while I only have $1 into it, is it even worth it, to sell for $6 or $7? Should I have bought it for even less? It's a really tough task, and it's delicate, because you can't explain the business and logistics to someone selling you records in ten seconds. The risk is all on me. If you want cash for your records, I can give you cash. But I can't pay you what I don't have, and usually record stores don't have much.

 What do you gauge their value you on?
There are several things, condition, and rarity. But sometimes you have to take into consideration what people want. If something is a hot seller, it doesn't matter how rare, or not rare it is, the price has to stay high. Take for instance Beatles, Zeppelin, Pink Floyd. While there millions, and millions of those records out there, everyone wants them. The demand must meet the price, which is why you see those records sell consistently for $25+, depending. 

 What do you pay for the purchase a big collection of vinyl – LPs,  78’s or 45’s
If someone is looking to get rid of the whole she-bang, the price has to be low. Record prices change day-to-day. You always have to buy for the lowest price possible, no matter what. In this area, the demand for 45s and 78s are so low, that I rarely buy them unless it's really sellable.

 

 It seems that vinyl records may be here to stay in contrast to CDs Do you agree? Why did CD/’s fall from grace?
I think the reason CDs have had their time is that CDs were marketed as "sounding better", and "lasting longer" than vinyl, and they don't, in any regard! They sound harsh, shrill, lifeless, terrible low end, and they actually start to break down. I almost get dissatisfaction when holding a CD. It's plastic, it's small, it seems like the cases are always broken, haha. Plus, there are just so many more records out there than CDs! 

How do you determine value of these products, memorabilia CDs, Vinyl 
There are a number of factors, internet sales, online databases, and the area you are in. I would say the cost of living in an area can also determine prices, and how many customers one store generates. 

Do you use eBay or Amazon or other online sources to buy or sell product?
-Sometimes one must use evilbay to get the most out of a particular product.  

Do you use media to promote your store?
Social media has played a large factor in promoting the store, especially Facebook. We can make updates, post pictures, events, and it goes out to thousands of people. However, word of mouth, to me, is still the best advertising.

Tell me about the influence of Record Day in April?
Record Store Day seems to have extreme pros and cons. On one hand, it's Christmas x 10 for Record Stores. On the other hand it, has turned record collecting into a piranha feeding frenzy for people who generally don't care about your store, making you want to pull out your own teeth. But I'll always participate.

What does Record Day mean to the collector?
Is this going to be anonymous? I don't think it's really for collector's, to be extremely ugly, and honest. It seems to be for people following a trend. I understand the hypocrisy behind that statement, because I own a record store that participates in the 'holiday". I like the idea behind it, getting people OUT to local record stores, supporting the small people, and businesses of the world. But there are always push-backs, too. People wanting to hoard all the releases, selling them on eBay, stores putting releases on eBay before RSD! It's almost a little too much.

Do repackaged records and boxed sets have value?
Yes, of course. For people who love music, that don't care about original pressings, imports, etc... that just want vinyl to listen to, they are wonderful. I own my represses simply because originals are too pricey, and I just want to listen to the darned thing. 

Do you make money on record day?
Record Store Day is the only "day" we make money.

 How much product do you sell? do you make money (ballpark) –
Total product, including tax for this past year was $5,885.18.

 Is it profitable?
Profit wasn't all that much, just over a grand, after all the expenses, food, drinks, paying out the bands that played, etc..

 Are you a vinyl history buff - can you speak to the history of  record stores as you know it and the ascendance of 12 inch and 45rpm records as well as the physical pleasure of holding a record and record cover in your hand?
I like to think that I am. I generally look for different things that most people don't look for. I would say 99% of music listeners just want to listen to what they're familiar with. For me, that's not good enough. I want weird percussion albums, Latin American Harp music, Turkish Psych, I want it all! I have a friend who hunts on YouTube for all these underground bands. For me, that does nothing, it's boring and it's trite. I want to have it in my hands. Anyone can go on YouTube and search "Mexican Psych", and find hundreds of videos. But that is hogwash as to holding the LP in your hand! I want the physicality of it. 

 Can you talk about the collecters thrill of finding an LP or 45 that that you’ve searched for years and finally found it?
I've definitely had those moments before! It's like finding that "great, white, whale", something you thought you'd never see, and then there it is, right in front of you! The most recent treasure was finding an absolutely mint copy of Edgar Broughton's "Sing, Brother, Sing", in the grossest garage I've ever been in. That was, like, a beacon of light, you know, when the choir starts singing!

Jordan Pries Electric Kitsch - Owner, collector, musician!

Scott Morgan is Back

                                                       
2014

Music in Review

…or else

 

Writing about notable events in American music is like kissing the Donkey’s ass too often. Take a look at the Country Music Awards; which one is better, which one is best. There is the CMA, ACM and the CMT and they all have their own websites. You need to grease a lot of palms to stroke it good. You may notice that in most of these country superstars are good looking, slender and down home nice, especially those dudes who wear a cowboy hat and play electric guitar. The country musicians who back it all up never miss a beat or a squeal and provide just the right amount of synth colorations to make it sound pretty. The sledge hammer, rock & roll rhythm section is an integral part of overall sound yet it’s buried in the mix, go figure.

So, from my perspective as a working class curmudgeon the current status of popular music in general is a shambles. It is all pre-empted, co-opted, and recycled.   How many times can you listen to Pharrell William’s song Happy without getting a sour tummy? He sings it like he means it…

It might seem crazy what I'm about to say

Sunshine she's here, you can take away

I'm a hot air balloon, I could go to space

With the air, like I don't care baby by the way

Because I'm happy

Clap along if you feel like a room without a roof

Because I'm happy

Clap along if you feel like happiness is the truth

Because I'm happy

Clap along if you know what happiness is to you

Because I'm happy

Clap along if you feel like that's what you wanna do

 

 

I don’t buy it. Like Madeline Albright says “the world is a mess.” And as music became a distraction instead of platform for truth, peace and beauty we seem to be recreating the bread and circuses of the ancient Roman Empire. We are insular and beaten down and the world refuses to wake up. It’s a weird alchemy that reduces music to notes without a deeper meaning. Deciding not to scalp the enemy is a step in the right direction and I think we can find it across the world, in pockets of enlightenment where music and the arts flourish. We have it here in the Great Lakes Bay Region of Michigan.

Venues have dried up a bit yet the survivors keep pumping out great music from notable bands. The Hamilton Street Pub is # 1 in my book, great food and drinks and even better music. Motts Place is a newcomer in the area but they hit the road running by booking Sprout & the Orange, John Krogman, Matt Besey and others. The Baywood Lounge is coming into it’s own as a venue that cares about good music. They might book Matt Besey and follow-up with Day 8… very cool. Bemos is my favorite people and they book the best bands around. They are the anchor for Bay City’s music scene along with favorite son Andy Reed.  We are kindred spirits and it feels real good whenever I get a chance to talk with Luann or Andy… because it’s real.

The musicians are the seasoning in the stew. They make it all work despite long hours and little reward. John Krogman is forever a dreamer and he keeps on playing beautiful original music with a message. Zydeco Ziggy and White Crow are an inspiration to us all, digging deep into the caves and crevices of ancient acoustical music that gives voice to the everyman. Honesty Elliot, Mani Layne and Dani Vitani are simply incredible, blending their strong, soaring voices into a heavenly elixir. They should be superstars. Mel Curry and Michelle O’ Neill are quietly taking the scene by storm, their rich voices blending perfectly and providing the backdrop to the everyday people that support the acoustic rhythms and harmony that provide us all with a sense of our homeland. Jazz and blues have been resurrected from the ashes and the Phoenix has risen. Larry McCray just released a fabulous new CD and he’s gigging locally. We need Larry McCray, he’s the new messiah of the blues and he wears it well. Donny Brown opened up the Red Room and proved to be more than a Freshmen. He’s a great singer, songwriter and a talented multi-instrumentalist

Donny Zuzula and the Tosspints create some of the most dynamic and daring music on the planet. His lyrics give you an idea of his existential angst. Zuzula means what he says and he will step up and step in it when something sucks. He famously confides “you can’t fix suck.” Bryan Rombalski along with Ryan Fitzgerald and Loren Kranz shifted Three Worlds into high gear. The energy and mastery is breathtaking. Kedree Young and Kyle Mayer are performing solo on a regular basis and they still fill up the tank to take Thick as Thieves on the road. Thank god. My vote for the most engaging and original artist is Tim Avram and his band the Mongrels. Avram has become an auteur of the dark side of life, vampires and deep cesspools pain. The abyss calls but Avram won’t give it his face, he knows better. He has already crafted an album of punk classics to be added to the Mongrels’ catalog. I can’t wait to get my filthy mitts on that little treasure trove of truth from the dark side of the street.

The are two extraordinary bands that left an indelible mark on my senses and set me free. I felt like I did when I first heard the Bossmen and the Byrds at Daniels Den in 1966. First off is Greta Van Fleet. This quartet of teenage rockers has the goods, from their age to their looks and their awe-inspiring mastery of craft. These teen wizards channel Robert Plant and Led Zeppelin yet they have their own unique sense of who they are. It seems as if they are wise beyond their years yet they are supported by good management and an extended family that cares. This is a band that has a chance to make it beyond the corridors of Mid-Michigan. Good luck and good sailing boys. The next artist is the legendary Scott Morgan. His rise to fame with the Rationals and the Sonic Rendezvous Band was nothing less that spectacular. Morgan’s extraordinary soulful voice helped the world wake up and embrace peace and harmony. He joined up with the Sights, another great Detroit Band and began gigging in earnest. He made a recent stop @ White’s Bar and put on a performance of a lifetime. His set list included three of his Rationals’ hits I Need You, Guitar Army and Respect. But his show promised and delivered so much more including Nutbush City Limits, Barefootin’, Mississippi Delta, Shake and Bring it in on Home to Me. Along the curves and crevices Morgan channeled Sam Cooke, Otis Reading, Tina Turner and the Staple Singers. It was an incredible gift of music. It took my breath away!

In the name of peace and love…

Bo White

 

 

 

 

 

 

Mandi Layne is on the Run

                                                  
                           

Mandi Layne & The Lost Highway

Country to the Bone

Aka

 The Dark Side of the Moo

I’ve been a fan of country music  since Hector was a pup, and whenever I stepped up to this piss pot in Bradley’s Barn, he would growl and snarl  like he wanted to go first. Hector was a first rate pissant when I look at it from the long view. I truly appreciated country music innovator Owen Bradley and his vision of melding rock and country and establishing a whole new genre called Country Rock. Sure the Byrds and the Flying Burrito Brothers copped a feel on the breast of new wave but it was Michael Nesmith from the Monkees who gave it sepia-toned realism.  In 1968 The Beau Brummel recorded a masterpiece right then and there and they named their LP Bradley’s Barn, go figure. It received an incredible outpouring of critical acclaim as a unique and bold musical statement that fused rock and country with more originality than the young hippie-dudes who tried too hard to sound like the Louvin Brothers.

Fast forward to 2007 when Mandi and the boys won the 98.1 Rising Star competition. It was the beginning of a long and fateful journey for Mandi and her musical partner Greg Kervorkian. From the very start the band has insisted on core instrumental precision and great vocals. The band has virtuoso abilities with the use of electric and acoustic guitars, mandolins, banjo slide, pedal steel, drums and dobro. The most alluring instrument of all is Mandi Layne’s incredible voice. She has a great range and can sing low and sexy or hit the higher registers like a banshee conjuring up a spirit. She is not afraid to belt it out soulfully, channeling Janis Joplin singing Down on Me or goofing on Loretta Lynn’s down home wisdom. She’s got the gris gris and it is a powerful notion!

The disc contains 11 original songs that cherry pick what’s best in modern country music. Mandi Layne can hold her own with anybody in the biz. She’s got powerful lungs; a willing diaphragm and can sing from the gut to the back of her throat. Case in point is the opening track, Summer Song. Layne’s pure alto soars with the music and lifts the song into the whole beach vibe. She’s backed up by organ flourishes and jangly guitar. Mandi and her pals Greg Stryker and Kervorkian wrote the music and lyrics that evoked a perfect summer’s day…sun and sand and the deep blue water. They do not stand on their laurels instead they shift gears like a NASCAR pit crew. Speck on the Map is a little tone poem about hometown boys, stock car races and Sunday church. This tune cranks out a powerful musical landscape that gets plain folks dancing to rock & roll and country and getting a righteous groove on. Gary Rivers’ Hammond B-3 pulls it all together in a powerful blues vibe. Before Summer’s Gone provides a rich metaphor for growing up and starting to realize that life is not what it seems, our parents aren’t perfect and neither are we. It is a sweet melancholy when leaves turn brown and winter is on the horizon. But Layne stays in the moment, building her memories and her safe place. The melancholy gradually shifts to triumph that scaffolds the acapella verse at the coda. Sweet!

Our First Last Kiss recalls Kid Rock tickling Cheryl Crow’s fancy with his crooked finger and crooked mind. He’s moaning about three damn days. WTF. But Layne turns it around in a sentimental way; and in doing so, evokes the bygone era of George Jones and the Possum Holler. This is a great duet between Layne and Kervorkian. It works despite a link to the mega hit Picture. Hot Mess is an all out assault on musical ennui. This is a rocker that takes no prisoners. The throbbing bassline alone is a sensory attack on your loins and a slug in the chest. The top notch rhythm section pulls it all together. This should be a #1 hit with a bullet but…can you say slut in a country song? Mandi may be hot but she’s got some outlaw in her too. There is a sense of growth and taking chances. This could be a new direction for the band. They are hitting on all the cylinders with that naughty Bo Diddley inspired beat and the driving rhythms on the Hillbilly Stomp. The drummer Mark Sutton is in the pocket throughout the disc. His expert shuffle on Made Me Change My Mind was the glue that held it all together. Mandi Layne & the Lost Highway are proving their mettle and actively seeking musical partners such as Matt Bigler, Chuck Alzanian and Richard Dodd. The engineering and mixing was done in Nashville and Franklin Tennessee. The album ends with There Goes the Neighborhood, a Cool Hand Luke failure to communicate but it’s all of kidding on the square. The song has plenty of humanity and Mandi Layne is in top form in this musical spoof. She’s channeling Shania and Patsy Cline with a little Loretta on the side and having good old country fun from cow tipping to name dropping. It’s like cheering on Billy Joel when he’s spent and out of breath during We Didn’t Start the Fire but he just can’t stop. Cultural milestones are tagged including Daisy Dukes, J. Geils, Ford Fairlaine, Gomer Pyle, Ragweed, Shotguns and Rebel Flags. It’s a crowd pleasing flourish of name dropping and kidding on the square that should go down well with the fans. Kudos to Matt Bigler’s clean, crisp production that leaves space for the music to breathe and never too busy but has enough stops and starts to make it interesting. This is a great body of music from one of the hardest working bands in Michigan. You can purchase the CD at www.mandilayne.com and is also available in all digital formats.