Since we’ve crossed into the millennium, time seems to roll on so fast. Before you know it, summer will be upon us. Just as I got used to the idea of May, Memorial Day weekend is here. “TGIFF.” Thank god it’s fucking Friday! I can certainly use a long weekend.

No one here seems to have much going on over this holiday. A bunch of my band friends are headed to Spain to play Primavera. Friends in New York and London are dealing with rain and sleet. For Memorial Day, I will be saying a prayer for ol’ Ray Manzarek. “Cancel our subscriptions to the resurrection.” I can’t help but wonder if Ray and Jim have connected on the “other side.”

My next Idelic Hour will surely be dedicated to the meaning of The Doors.

In the meantime I am about to cross a milestone, well almost. This is the 99th episode of the Idelic Hour. As I have mentioned recently, I’ve felt the need to be “reliable” to the music. It’s this reliability that has led me across the country to state of Ohio for this week’s inspiration.

Last weekend I drove around the Canyon listening to the wonderful new album from Ohio natives, The National. Matt Berninger’s warm and familiar voice soothed my soul. Ah, at last an album that seems to slow time down.

On Monday, Pitchfork gave the album an excellent review at one point stating, “Most people attribute the National’s escalating popularity to their reliability…” It made me think “reliability” deserves an Idelic Hour of music.

Why not Ohio? When the word comes to mind, I think of Republicans, guns, motorcycle gangs—but most of all, cool rock ‘n roll.

Let’s plug in and explore Idelic “Ohio”.

The Idelic Hit of the Week:
Kingswood – Ohio

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The former Air America host and journeyman stand-up started podcasting from his garage in 2009 at a time when he felt his career was at a dead-end. That dead-end quickly turned into an expressway for Maron’s multi-tiered intellect with the podcast giving him, for the first time in his career, an unencumbered, uncensored media outlet. His frank, in-depth interviews with his comedic peers quickly gained a loyal following which keeps WTF with Marc Maron in the Top Ten iTunes chart week after week.

WTF’s success led to the current IFC Television series Maron, based on his life and starring Marc in the title role. He also recently published his second book, Attempting Normal, and did an exhaustive media blitz to promote it, including inaugural visits to The Howard Stern Show and Fresh Air with Terry Gross. As second acts go, it’s a doozy.

Okay, that’s cool and all, but why is Marc talking to The Vinyl District? As he has noted many times on WTF, Marc is an enthusiastic vinyl fan which he illustrates with accounts of his listening sessions that brim with an almost evangelical zeal. Growing up in New Mexico, Marc’s first exposure to music came courtesy of his parent’s record and tape collection.

About two years ago, after noticing new record stores opening in and around his Highland Park neighborhood, he dipped his toe back into the vinyl stream and is now thoroughly immersed. Of course, being Marc Maron, his neurotic side frets over becoming an obsessive collector and possible future episode subject of Hoarders. But for now, the joy of listening to music on a quality turntable and music system is keeping those fears at bay.

What was the first album that really grabbed you when you were a kid?

(Without hesitation) The Beatles Second Album. It sounded so great! I remember playing “Roll Over Beethoven” over and over. I was obsessed with that song. I even went out and bought a Mountain album (Twin Peaks) because it had that song on it. It took me a while before I found the Chuck Berry original. My parents had a lot of cassettes: Janis Joplin’s Greatest Hits, Johnny Cash at Folsom Prison and stuff like that. I also had an aunt who gave me some some records. My musical education really started with a store called Budget Records and Tapes in Albuquerque. There was a guy named Jim there who turned me on to so many wild things.

While you were getting this musical education, did you share it with you friends at school?

Not really. At that time, Van Halen, AC/DC and Led Zeppelin were really popular. One of my buddies was a huge Journey fan. A lot of it was influenced by the concerts that came through. I listened to all that. What I was getting from the record store guys was probably far beyond the comprehension of my high school crowd. Later, I got into jazz and new music by artists like Joe Jackson and Elvis Costello.

The ‘70s were a golden age for comedy albums. Were you into comedy at that point?

Yes, I remember that being earlier, like the early ’70s. My brother and I listened to George Carlin, Richard Prior, Cheech and Chong, and Steve Martin’s Let’s Get Small. I listened to that one heavily on an all-in-one record player with built-in speakers. Later, I had a Yamaha system that I got when I was working part-time at a stereo store.

What type of system do you have now?

A pretty high-end Pro-Ject turntable, a Cronus Magnum tube amp and a good set of speakers. When I interviewed Jack White at Third Man, I noticed he had several Macintosh tube amps. When I went to price them, though, they were way more than I wanted to spend. Instead, I went over to Brooks Berdan and they helped me put together a nice system.

How did you move away from vinyl?

Practicality, I guess. I was still dragging the vinyl around but at some point, they convinced us that CDs were better. I wound up buying some albums on three different formats! I was listening to music through a kinda crappy system with Klipsch bookshelf speakers. But as record stores stared opening in my neighborhood I came back to it pretty naturally. I don’t have a large collection, just about 300 LPs,

For me, I can listen to the radio in the car but having the experience to sit down with vinyl, look at it, put it on the turntable and sit a certain distance from the speakers in the middle of the couch while it’s playing…that entire activity is a specific experience. Is it a great experience? Sure, if you can appreciate it. Is someone going to get the same experience listening in the car? It’s not necessarily the same, but it can still be moving.

Do you think the move to digital lessens the experience?

Well, it depends on what you want to get out of it. I recently interviewed John Fogerty and I asked him about his approach to production, “How did you get that sound on those records?,” because those Fantasy label records were fantastic! They were pressed on the heaviest vinyl and they just sound timeless. The music is straightforward and everything is up front in the mix.

Fogerty told me, “I just wanted to make sure you could hear everything through an AM car speaker.” You can get caught up in thinking, “I want to hear it just the way they laid it down,” and start chasing the perfect sound. They once asked Tom Waits in an interview what his favorite sound system was and he said, “An am radio across the street.” (laughter)

Speaking of AM radio, in the 50s and 60s, most records were mixed in mono to achieve maximum punch and clarity when broadcast. Often, the mono mix was done with much more care while the stereo mix was an afterthought. Consequently, those mono LPs are now in high demand. Have you delved into it to the point that you seek out mono LPs?

No, I have a few but I’m not caught up with that. I have a scratched up mono copy of Blonde on Blonde that sounds great, it has great depth. I get nervous whenever I collect things. I’m having a good experience with vinyl now but I am wary of falling down a rabbit hole.

I’m actually getting some new records on vinyl and people are giving me records. I’ve gotten bunches of comedy records. I listened to Van Halen’s debut the other day and 1969: Velvet Underground Live With Lou Reed which is a great, dirty record. Hearing Van Halen on the turntable through the big speakers is a great experience. It’s like you’re hearing it for the first time. I don’t really know how to explain it but there’s a distinction of sound on vinyl that you don’t get from listening to the digital track. That depth of sound is missing from digital. You can really hear the dynamics of the music on vinyl.

Well, humans are built to hear in analog. The current trend toward keeping everything in the track at the maximum level, dubbed the “loudness war,” has taken the away the dynamics. People claim that they get ear fatigue after listening to these compressed tracks for an extended period.

I believe that, totally.

Are we going to see a turntable in a future episode of Maron?

I hope so. If we get to do another season, I want to include some scenes in a record store.

Awesome! What are your most-frequented local shops?

I go to Gimme Gimme down on York and I go over to Permanent Records.

[At this point, the conversation sidetracked into the best way to clean records. Marc wants to get a nice, vacuum-enabled cleaner like the Nitty Gritty machines. I shared my preferred method, which was taught to me by Bob Irwin, owner of Sundazed Music: 1) take a soft-bristled, two-inch paint brush, 2) place a small of amount of dishwashing liquid on the brush and wet it, 3) paint the suds into the grooves in a circular motion and 4) rinse thoroughly and dry with a soft cloth. Trust me, it works wonders!]

Do you have any plans to release a record yourself?

No, not right now. There will a soundtrack release for Maron but I don’t play on it. I have to get a band together.

And with that, I let Marc return to his hectic schedule. Over the past year, he has begun including interviews with musicians on WTF!, exploring the passions that drive them to create.

Listening to them, he almost always asks the questions that I would have asked, crafting a highly satisfactory surrogate Q&A. That down-to-earth, everyman approach is perhaps the central component of his appeal. We’re all curious, we all want questions answered and we all get cranky sometimes. Fortunately, Marc does all that for us, twice weekly.

As long as he can keep doing that, we’re good.

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The fantastic Los Angeles duo, JJUUJJUU, are made up of Moon Block Party‘s Phil Pirrone and Incan Abraham‘s Andrew Clinco and they just released their first collection of Krautrock-inspired psychedelic jams as an EP entitled FRST on Beyond Beyond is Beyond Records in April, and made their first appearance at this year’s Austin Psych Fest later the same month. And I’m happy to say that we have a copy of the limited edition EP on white vinyl for one lucky TVD winner! Have a listen…

The honorable Permanent Records Chicago calls FRST “…a mouthwatering ‘amuse bouche’ for this tasty morsel of heavy psych! Rolling drums and droning guitars ebb and sway, conjuring a peyote-fueled rollercoaster ride thru the blistering Mojave.

There’s definitely a mood and vibe ruminating thru these grooves, with echoes of fellow voyagers like Spacemen 3, Brian Jonestown Massacre, and even some of the headier moments from the earlier Black Angels oeuvre. These guys are definitely ones to watch—we certainly will be.”

And check out JJUUJJUU’s far-out video for “Ancient’s Future”…

To win the limited edition JJUUJJUU FRST EP on white vinyl, name your favorite L.A. band ever.

I’m gonna go with the Doors, in memory of the recently deceased Doors keyboardist, Ray Manzarek, whose role in the band’s overall sound should never be understated. Rest in peace, Ray.

One winner with a North American address will be chosen a week from today, Thursday, May 30.

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Mark Kendall is the lead guitarist and a founding member of the hard rock band Great White. 30 years after founding the band in Los Angeles, Mark and company have sold over 10 million records worldwide and continue to record and tour. Elation is the band’s twelfth studio album and the first to feature vocalist Terry Ilous.

Great White might have been lumped into the Hair Metal category back in the ’80s, but Mark Kendall’s incredible guitar playing and his love for the blues gave the band its distinct sound, which has enabled the band’s music to truly stand the test of time and keep a loyal fan base hungry for more, even after 30 years.

The new album undeniably has the Great White signatures. “Feeling So Much Better” has a harder side to it, while “Shotgun Willies” sounds like classic GW. “Hard to Say Goodbye” boasts incredibly great songwriting that showcases the vocal abilities of new singer Terry Ilous. He’s no Jack Russell, and that’s ok, because what’s most important is that the core of Great White is still together and stronger than ever.

I had the chance to chat with Mark Kendall, and he was kind enough to share some remarkably interesting stories from the his fruitful career so far.

Great White started in LA back in 1982. Can you tell me what the vibe was on the Sunset Strip at that time?

The scene was really electric. It was really healthy in the early ’80s, apart from ’81 when New Wave started coming through a bit. There was really something happening in Hollywood. I was going up there a lot because there was always someone playing: Motley Crue, Ratt, Dokken. Back a little bit before that is when Van Halen got their record deal, and that’s when we all said, wow, this is possible.

I followed them a bit because I saw them when I was a teenager in a backyard somewhere. I was inspired not only because they were the best band around at the time, but also by their work ethic. They played more than anyone. I could relate because Great White also followed that trend for a while when we played a ton of shows for free just to get our name out.

Great White was one of the first bands to do MTV’s Unplugged. I remember seeing you perform “Babe I’m Gonna Leave You,” and it was stunning.

We got the call and were asked to come in and record on the same day that Don Henley and Damn Yankees were doing their shows. There’s an interesting story here though, because my manager called me the night before and told me to learn Zeppelin’s “Babe I’m Gonna Leave You.” This wasn’t like learning “Johnny B Goode” or something because it has a pretty crazy arrangement.

We had never even played this song, and I said to him, you mean we’re not even going to rehearse it? He said, no just go over it in the dressing room. So, that’s what we did. We went over it in the dressing room and played it once at soundcheck before we did it live.

If you notice at the end of the video I start to smile as I knew that we were going to make it through the song. MTV had the video in very heavy rotation after that, as in multiple times a day, and it really took off for us.

When you were recording “Once Bitten Twice Shy,” did you have any idea what kind of impact it would have?

Our manager came to us with the idea to cover the song since Twice Shy was the obvious follow-up to Once Bitten. We thought the song was good, but we didn’t think that it would really take off like it did. We didn’t really think it would be a big single or anything at the time.

The record company chose it as the first single, and we knew that we had a few other back up singles on the record just in case. After the single took off, we were nominated for a Grammy, and it sold millions.

Did Ian Hunter reach out to you guys afterward?

It was really such a strange coincidence. Way before we ever decided to cover the song, he actually rode on our tour bus with us to one of our shows and was just hanging out. I believe it was around 1979 in New York.

Then we ran into him again in 1984. We were touring with Judas Priest, and we needed a drum riser. Our sound guy knew Ian and said that he had a drum riser at his house. So, we went over and picked it up. What’s funny is that neither of these meetings had anything to do with us covering that song.

Are you big fan of vinyl?

I love listening to vinyl; it really brings back great memories. I mean, shopping for records used to be an all-day event. I remember getting Physical Graffiti, and my friend had this entire set up where we put the speakers up in the window, sat out on the patio, and looked at the artwork, read the lyrics, and just listened. I just love that era, and as far as the quality, I loved it.

I still have the very first three records that I ever owned in my life. When I was nine years old and I got my first guitar, my father bought me The Doors’ Strange Days, Jimi Hendrix’s Are You Experienced, and Cream’s Disreali Gears.

Sex Pistols vs. The Clash…

I would go with the Sex Pistols because Johnny Rotten had such passion for his music, and his delivery was so powerful. To me, his entire being was put on this earth to do what he’s doing. It’s like punk rock was his whole world.

It reminds me of this singer years ago who my friend Tracy G [Dio guitarist] told me about. He was the singer of a band called World War III. The guy’s name was Mandy Lion, and he truly lived the part. This guy wore the leather pants all hours of the day and never stopped pursuing what he loved. That’s what I think of when I hear The Sex Pistols.

Great White’s brand new release Elation is in stores now via Frontiers Records. The band is also on tour, and we’ll be catching the show in Anaheim next Friday at The City Grove. Stay tuned for exclusive photos and a full review right here at TVD.

Great White Official | Facebook | Twitter

Great White Tour Dates:
Fri 05/31/13 – Anaheim, CA – City National Grove Of Anaheim
Sat 06/01/13 – Salt Lake City, UT – Harley Davidson Of Salt Lake City
Fri 06/07/13 – Vernal, UT – Western Park Amphitheater
Sat 06/08/13 – Lancaster, CA – Antelope Valley Fairgrounds
Sat 06/15/13 – Rothbury, MI – Double JJ Resort
Fri 06/21/13 – Deadwood, SD – Deadwood Mountain Grand Hotel & Casino
Sat 06/22/13 – Sheridan, WY – Trails End Concert Park
Thu 06/27/13 – Santa Ynez, CA – Chumash Casino
Sat 06/29/13 – Brainerd, MN – Brainerd International Raceway
Wed 07/03/13 – Del Mar, CA – Del Mar Fairgrounds
Sat 07/06/13 – Hollister, CA – Guerra Cellars
Thu 07/11/13 – Gettysburg, PA – Granite Hill Campground
Fri 07/12/13 – Kankakee, IL – Kankakee Valley District Park
Sat 07/13/13 – Streetsboro, OH – Z-Plex @ Stringz & Wingz
Thu 07/18/13 – Oshkosh, WI – Ford Festival Park
Sat 07/20/13 – Waukesha, WI – Waukesha County Fairgrounds
Fri 07/26/13 – Akron, NY – Concert Cove Amphitheater at Brauns Bar
Sat 07/27/13 – Mattawa, ON – Voyageur Days Festival Grounds
Sun 07/28/13 – Saint Catharines, ON – Barracuda Pretty
Thu 08/01/13 – Englewood, NJ – Bergen Performing Arts Ctr.
Fri 08/02/13 – Detroit, MI – Renaissance Center
Sat 08/03/13 – McMinnville, OR – Yamhill County Fair & Rodeo
Sat 08/10/13 – Stuart, FL – Stuart Speedway
Thu 08/15/13 – Escanaba, MI – State Fairgrounds
Fri 08/16/13 – Laredo, TX – Laredo Energy Arena
Sat 08/17/13 – Beaumont, TX – Ford Park
Thu 08/22/13 – Saginaw, MI – Arena at Dow Event Center
Sun 09/01/13 – Omaha, NE – CenturyLink Center Omaha
Sat 10/26/13 – Calgary, AB – Deerfoot Inn & Casino
Sat 04/19/14 – Calgary, AB – Deerfoot Inn & Casino

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McBride’s new record Morning in Glen Burnie is a modern album steeped in an old-school throwback collection of music that blends country, Americana, rhythm and blues, soul and classic rock. McBride recorded Morning in Glen Burnie just outside of Boston close to his hometown, though he said the songs were inspired by the city of Nashville, where his music career began. Boston native, Kimon Kirk (Grant-Lee Phillips, Aimee Mann), signed on as producer.

The stand-out track from the record for me is “Julia.” It’s got a throwback ’50s blues appeal that makes you feel like the girl you’ve been in love with all your life broke up with you in the middle of a Buddy Holly song at the sock hop, so you hurried to the closest diner to buy a chocolate malt to cry into.

As if that isn’t enough, a personal favorite of mine, Olivia and the Mates, is the opener for the show, and she’ll be playing her bubbly tunes to keep you happy, so get yourself down to the Black Cat next Friday.

Doors at 9pm | Tickets $15

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Ruffins has never been shy about his affection for traditional New Orleans jazz. However, his music has moved beyond the style that was the motivating force behind him leaving the Rebirth Brass Band to develop his solo act.

His new record returns him to his trad roots with a collection of tunes that could have appeared on his debut record, World On A String. Favorites include “When It’s Sleepy Time Down South,” “Jeepers Creepers,” and “Careless Love.”

The record also features the cream of the crop of local trad jazz talent including star turns by pianist Steve Pistorius and trombonist Lucien Barbarin. Mykia Jovan, a singer who appears regularly with Ruffins at his live gigs, duets with the leader on a great version of “All of Me.”

Perhaps the only thing that Ruffins has in common with Terence Blanchard is the fact that they both play trumpet. His new release, Magnetic, is a tour de force of modern jazz.

The album features ten original songs written by Blanchard or a member of his quintet: saxophonist Brice Winston, pianist Fabian Almazon, bassist Joshua Crumbly, and drummer Kendrick Scott.

Magnetic also showcases special guest appearances from bass legend Ron Carter, as well as Blue Note Records label-mates saxophonist Ravi Coltrane and guitarist Lionel Loueke.

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Paul McCartney was the member of the Fab Four that so many used to relish knocking around. Whether it was in spirited bar chats or animated discussions at parties, when the tide turned to The Beatles somebody could always be counted on for a hearty jibe at Macca’s expense. And in my above use of “so many” I’m generally referring to males and by “somebody” I’m specifically speaking of those who indisputably considered John Lennon to be the Best Beatle.

While for those truly devoted fans of the band there could simply never be a Worst, for many Paul was the Square Beatle, a designation not borne out by the facts, for he was as interested in the avant-garde as any member. Hell, in ’68 he co-produced “I’m the Urban Spaceman” by The Bonzo Dog Doo-Dah Band for Pete’s sake, an act that places him rather high up on the meter of cool.

However, others derided him as the Corporate Beatle. And yeah, it’s true that Paul never lost track of the business aspect of the whole affair, but his behavior in this regard hasn’t really played out as particularly odious in comparison to other rock star types of not even half his stature or talent.

But both Paul’s image and the assessment of his post-Beatle solo career has rebounded in recent years. Much of this might have to do with the constantly regenerating fanbase of the Four consistently growing older and perhaps letting go of the rebelliousness that inspired easy identification with Lennon or Harrison. It also might be related to the race for Coolest Living Beatle being down to him and Ringo “No More Mail, Thanks” Starr.

But seriously. In my estimation Paul’s general critical resurgence is a welcome phenomenon, if only because his first two solo records have finally gotten something approximate to the proper level of respect. And yes, for years I bought the baloney regarding the collective underwhelming nature of McCartney and Ram, too.

This was in part due to older acquaintances, even those quite favorable to McCartney’s work in The Beatles, being generally disapproving of his solo stuff, considering those early albums as grievous miscalculations of ambition (or lack thereof) and Wings (which of course wasn’t really Paul “solo,” being a band in its own right) as a severe pendulum swing into the other direction, offering safer though often more grandly scaled distillations of Paul’s talent.

But the kibosh was Landau and Christgau’s critical double whammy on Ram, which was enough to make me weary for years. And yet, as I kept stumbling onto really great albums that either Jon or Bob (or both) disdained, and as the general curiosity inherent to music fans started getting the better of me, I decided to take the plunge.

I sensibly started with McCartney, and was knocked plumb out by its stripped down feel; it’s been described as demo-like, and that’s accurate. In contrast to the over-slick efforts that were clogging the bins at my point of discovery, it was a real breath of fresh air. And unlike its rep, the level of the songwriting was excellent, and made clear that McCartney’s aims were indeed ambitious, though simply at odds with what the critical zeitgeist (it wasn’t add odds with the record buying public however; both McCartney and its follow-up sold an asston). But the high quality of Paul’s solo debut simply couldn’t prepare me for the exquisitely ramshackle affair that is Ram.

While I already knew and highly enjoyed “Uncle Albert/Admiral Halsey,” I was a fresh-faced newcomer to the wonky blues of “3 Legs” or the rollicking smack-talk of “Smile Away.” In “Monkberry Moon Delight” I found a deliciously snide and considerably twisted stomp, and “Ram On,” with its distorted electric piano tones and strummed ukulele, is nothing less than a prototype for the 21st Century indie-pop sound.

The interplay between Paul and Linda on “Eat at Home” feels a little like a laid-back country-rock precursor to the Buck/Nicks-era Fleetwood Mac, its scale smaller, oozing with the nonchalance of a couple that’s discovered they have nothing to prove, so they’re just going to do what gets them off. It seems this was enough to drive many observers to vitriolic ends. That “Eat at Home” is apparently a tribute to the undying grandeur of Buddy Holly only adds to its panache.

And unlike some who find her co-credit to be a display of hubris or economic maneuvering, I continue to find Linda’s vocal contribution to Ram one of its most endearing traits. There’s a mixture of earnestness and palpable pleasure that’s sweetly accented by an appealing lack of polish in her delivery, and this blend really adds to “3 Legs,” “Monkberry Moon Delight” (I gas every time on how she sings “cats and kittens”) and the extended “Long Haired Lady,” another Ram cut that solidly presages the modern indie sound. And while we’re on matters of the up to date, the smooth folk-pop of “Heart of the Country” sounds downright contemporary. Bon Iver, anyone?

Over time I’ve detected a mild thread of similarity across the grooves of Ram to the songwriting of Brian Wilson. Not only can I hear it in the album’s terrific closer “Back Seat of My Car,” but I also perceive its presence on “Dear Boy” and even a little bit in “Smile Away,” mainly due to that song’s backing vocals. And this directly relates to one of McCartney’s most positive attributes, specifically the lack of anxiety in his influence. He’s always been pretty open about where his inspiration derives, maybe attempting to add a little modesty to the mantle of pop messiah that was thrust upon all three of the Beatles’ principal songwriters.

Unlike some hit songs, tunes which stick out on otherwise superb albums like an unfortunate mustard stain inflicted upon a finely-designed and well-worn shirt during a swank holiday picnic, “Uncle Albert/Admiral Halsey” fits snuggly into Ram’s qualitative gist. In fact, it’s one of the album’s more important tracks in that it provides quite a template for some of the expansive tweeness that’s occurred over the following four decades.

It’s also a very weird song; to wit, the assumedly Linda-derived tongue-flutter in the cut’s first section. And while listening recently, it suddenly became tangible that “Uncle Albert/Admiral Halsey,” again at least in its first section, isn’t that far removed from some of the more pop-inflected moments of Animal Collective. Yeah, contemporaneousness is surely in abundance on Ram.

By this late date it’s not likely too many people are continuing to harbor a lingering prejudicial grudge against McCartney’s pre-Wings solo work. Like this expanded issue of Ram, McCartney was released in a deluxe bells-and-whistle intensive set not quite a year ago, and if that effort had either stumbled commercially or been subject to a persistent persnickety critical evaluation, Sir Paul might’ve hesitated over putting this one in the racks in so quick a fashion.

And in my estimation, the two-disc edition of Ram edges out the same configuration of McCartney by a little more than a nose. Sure, both “Another Day” and “Oh Woman, Oh Why” were already added to the ’93 CD issue, but their inclusion on the vinyl of this impeccably crafted set is still quite jake. “Little Woman Love,” the b-side to Wings’ “Mary Had a Little Lamb” also turns up, and is sorta the odd track out.

For unlike the latter live versions that make up the bulk of McCartney’s extra material, Ram includes a bevy of previously unissued studio tracks, all of which date from the sessions for the LP (a big plus in my book), which makes hearing them an absolute cinch for anybody that’s stumbled onto the greatness of Ram.

And the verdict on the general worthiness of these extra tracks is a resounding positive. Quite interestingly, the unreleased songs don’t sound like completed tunes that didn’t make the cut for reasons of inferior quality, instead feeling like pieces that were worked on and then set aside unfinished, never to be picked up again. For a few examples, “Great Cock and Seagull Race” and “Sunshine Sometime” are both instrumentals, and the lengthy rocker “Rode All Night” would’ve likely undergone some editing in a non-bonus cut version.

Of course, McCartney maniacs might already be familiar with these tracks through unauthorized channels. But here they are in a Paul-instigated expansion of Ram, another installment in one of the most meticulously assembled and least mercenary of contemporary single artist reissue programs.

Like McCartney, Paul’s second solo stab has endured the tide of time to distinguish itself as one of the more interesting and most personal works of the ‘70s, easily ranking in the top three Beatle solo albums alongside All Things Must Pass and John Lennon/Plastic Ono Band. Hearing Ram in its original form is essential. This well conceived expansion of its contents does nothing to interfere with its disheveled majesty.

(RE)GRADED ON A CURVE:
A+

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When you grow up close to the ocean, it’s always part of who you are. For someone like Nicole Atkins, whose music has been so deeply inspired by her upbringing near the water, the devastation hit particularly hard. What once was is now gone. Friends and family were displaced; homes were destroyed, flooded, or burned down. You can get used to the unpredictable temperament of the weather by the ocean, and you understand what a big storm might mean. But you never expect something like Sandy.

“People say, ‘It’s a once in a lifetime storm!’” Nicole tells us. “But it makes me really worry when people say that because it would be such strain for us to go through this big rebuilding, only to have to do it again in a year. Or even five years. Or ten years.”

Shark River Hills is a secluded little middle class village in Neptune Township, NJ that’s a mishmash of blue-collar fishing town and musicians’ hideaway—the kind of place Bruce Springsteen might write songs about if he had a mind to. If you look on a map, you’ll see that Shark River Hills is a minuscule peninsula that juts out into the Shark River (which is really more of a bay), which itself empties into the Atlantic Ocean.

From stem to stern, it’s a little under three miles from the westernmost border of Shark River Hills to the sea. Many areas of the Jersey Shore are broken up like that, with estuaries and tiny peninsulas and thin strips of beach. It’s a fragile-looking lattice of shoreline, and it’s one of the reasons why Shark River remains one of the most devastated areas in New Jersey nearly seven months after Sandy’s landfall.

“Shark River is such a small town that everybody forgets about us,” Nicole says. “We got hit so bad because we’re just surrounded by rivers. There’s one way into town and one way out. Most of my friends and neighbors… if their houses didn’t burn down, their houses have to be knocked down.

“It’s just a shame. We have one bar in town, and that got leveled. All the boats… it used to be this really idyllic little fisherman’s town, and now it’s just so wrecked.

“We’ve been through so much… a house caught fire on my street yesterday. And I’m like, dude… we cannot catch a break!”

Nicole played the “On The Beach” Superstorm Sandy benefit concert in Asbury Park in January with My Morning Jacket, and was out on tour with The Eels through March. When she returned, it was to a hometown still in complete disarray. ”I don’t think anybody has any idea just how bad it was. And still is.”

Shark River musicians decided to do something about it, and the idea for “River Concert 2013: Shark River Hills—A New Beginning” came to be. ”It could always be a lot worse, but I’m glad that the town is full of musicians so we can at least throw a party to raise money. And the town needs a party.”

“River Concert 2013″ on Saturday, June 1 promises to be a great party. In addition to food, beer, and wine from local vendors, the concert will feature music from Nicole (in a trio with guitarist Irina Yalkowsky and Chris Donofrio), Steve Forbert and Mike Doughty; the Shark River Hillbillies—with Pete Schulle, Marc Muller, Ricky DeSarno, Harry Filkin, Ronnie Mailloux, Amy Broza, Frank D‘Agostino, Joel Krauss and PK Lavengood; beloved locals Joe Riccardello, The Lone Ramblers, Lemon Juice, and local teen girl group The Glycerin Queens will be performing throughout the day and evening.

“The good thing about the people of Shark River Hills is everybody are really good friends, and everybody helps each other out, so everybody has a pretty good attitude,” says Nicole. “But just seeing the level of stress… people who are almost 70 years old shouldn’t be rebuilding a house. But I think it’s really good for morale for Shark River Hills to be having a party. It’s gonna be a lot of booze and food and I think that everybody’s gonna come out.”

“River Concert 2013″ will start at 12pm on Saturday, June 1, 2013 at Riverside Park, South Riverside Drive at the Shark River Hills Marina in Neptune. Tickets will be $25 for adults, $10 for ages six to twelve, and kids five and under are free. Tickets may be purchased in advance or at the concert. All proceeds will go directly to the Recovery Along the River Fund benefiting families in Shark River Hills affected by Superstorm Sandy.

If you can’t make it to the event but still want to show support, donate to help the people of Shark River Hills through Rebuild Recover (in Shark River Hills’ name) or directly to the Shark River Property Owner’s Association. For more information about “River Concert 2013″ visit their Facebook page.

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Earlier this week we spilled quite a bit of pixel dust in praise of Blank Realm’s LP Go Easy, out now via Fire Records. As such, we thought we’d conjure up the opportunity for one of you to get your hands on the release, on glorious pink vinyl.

“Blank Realm has been knocking around Brisbane, Australia for over half a decade, spurting out small-press underground rumblings on all sorts of formats. But with the release of Go Easy they are swaggering confidently into a bigger spotlight.

The record actually came out last year and kicked up a fair amount of positive dust, but in the end that response just wasn’t satisfactory, for the UK label Fire Records has recently given it another well-deserving and higher-profile press, this time on pink vinyl. Listeners favorable to a meeting of Royal Trux’s more rocking moments and the raggedy thrust of the current garage scene should find it a keeper.”

“The group is composed of two brothers and a sister, Daniel (vocals/drums), Luke (bass), and Sarah (synths/vocals) Spencer, with Luke Walsh (guitar/engineering) completing the lineup. Based on a casual first impression, the foursome seems to be tapping into a definite ‘90s indie vibe, a circumstance that’s only deepened by the comparisons between the band and the early/mid-‘90’s recordings issued by Royal Trux…

Very frequently when listening to a record, a song will arise and immediately reveal its destiny as the consensus “hit” of the platter. That’s not the case here. Understandably, lots of folks are currently celebrating the odd pop of “Cleaning up My Mess,” but from where I’m listening, Go Easy has four more cuts out of a grand total of eight that are just as strong.

And that’s a downright impressive feat. Due to the surface familiarity of their sound, Blank Realm is likely to be underrated a bit, but with this LP they’ve charted a fresh entry in the annals of Australia’s rocking history, and that’s a circumstance deserving of generous praise.”

Enter to win our pink vinyl copy of Blank Realm’s Go Easy by sharing with us in the comments below the coolest record you own on any color vinyl. (There’s actually a Best of 70′s Porn Music LP here at TVD HQ and uh, yea…pink vinyl too. No joke.) We’ll choose one winner on 6/3!

The band’s on tour too—would it kill you to check ‘em out live? Didn’t think so.

Blank Realm Tour Dates:
May 24 – Chicago, IL – Burlington
May 25 – Cincinatti – Chameleon
May 26 – Columbus, OH – The Summit
May 27 – Washington – DC – Black Cat
May 28 – Brooklyn, NY – Death By Audio
May 29 – Philadelphia, PA – Ortlieb’s Lounge
May 30 – Chaos in Tejas Red 7 – Austin ,TX
June 1 – San Francisco, CA Hemlock Tavern
June 2 – Permanent Records in store, Los Angeles
June 3 – San Diego , CA – Che Cafe
June 5 – Portland, Rotture
June 7 – Seattle, Cairo

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Flying Dog Brewery is known for its rare and experimental beers, so it is fitting that of Montreal will be taking the stage this Saturday for the first of their 2013 Summer Concert Series. Enjoy a Raging Bitch Belgian IPA with mango and habanero while taking in the Georgia band’s musical theatrics. Not sure you could have a better Saturday afternoon, so trek it to Maryland for a colorful start to your long weekend at this 21 and up event.

Polyvinyl Records artist of Montreal released their latest album Paralytic Stalks last year, which brought a toned-down live version of the usual theatrics. Don’t put down your freak flag quite yet! Whether the outfits are nude-colored spandex suits or most recently shirts and ties, you can always count on being surprised by some form of risqué on stage.

You never know what you will get, so get your spot on the lawn, as it’s not every day of Montreal brings their own stage and production for your entertainment. Get there early to buy Kevin Barnes a beer and enjoy an afternoon of music, rare beer, and food trucks from 5:30-9pm.

Baltimore’s US and US Only, not to be confused with the sixth album by The Charlatans, will open the event. They released their latest album Dark Cloud Past last year and have plans to release a 7” titled Light Poured/The Horse’s Mouth this year.

The Beer Line-up (sold a la carte):

Bloodline Blood Orange IPA
Single Hop Imperial IPA with Citra
Single Hop Imperial IPA with El Dorado
Pumpernickel IPA
Easy IPA
Snake Dog IPA
Doggie Style Pale Ale
Big Black Wit
Woody Creek Belgian Wit
Underdog Atlantic Lager

Two Experimental Casks:
Raging Bitch Belgian IPA with mango and habenero
Pearl Necklace Oyster Stout on oak, primed with maple syrup

Food Truck Options:
Kooper’s Chowhound
Wheyich Artisanal Sandwiches
Smoking Swine

Flying Dog Brewery is located at 4607 Wedgewood Blvd in Frederick, Maryland 21703. Buy your tickets before they sell out.

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