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