Putting all the tasty leftovers from Record Store Day on the website.
We’re expecting some more late arrivals this week (& probably next…)
Watch the website…
3) CARTRIDGES & STYLUS!
That’s right a USED Stylus / Needle can rip your vinyl apart in seconds & render it unplayable.
We cannot stress this enough. If you pick up a bargain Record Player at a Yard Sale, bring the Needle / Stylus to Us & we can advise you.
Some things are not such a BARGAIN!
For Releases Check http://www.recordstoreday.com
The deal with record store day product is as follows….
1) All releases are limited.
We have no way of knowing how many copies we will get
therefore we cannot reserve anything
Everything is first come first served in person on the day
2) No RSD product will be advertized on websites until after the event
We cannot reserve sell, or hold any RSD product before the event
RECORD STORE DAY WILL BE HELD ON Saturday 18th April 2015
Please come down early on the day!
We will be open at 9.30am
For leftover Record Store Day product, type “RSD” into the website search.
Our 3 most asked questions…..
you will find all your questions answered here…
Call us before you come down to check we are buying to avoid upset!
We have some odds & sods leftover from Record Store Day 2010 & 2011.
Just type “RSD” into our website search & check out whats left….
All are very limited quantities
Don Van Vliet aka Capt. Beefheart
Jan. 15th 1941-Dec. 17th 2010
Plans for Captain Beefhearts 70’s birthday event at Into The Music have taken a sad turn this week with news of the great man’s passing last Friday. A long time sufferer of multiple sclerosis, he succumbed to complications of this incredibly debilitating disease.
If you grew up curious about the music of the 60’s and 70’s rock, especially the rock underground, you’re at least familiar with the name Captain Beefheart. While he’s never had anything approaching a hit album, his influence is all over the rock landscape, from punk to post-rock. His first album was Safe As Milk, a blues based workout that while perhaps being his most accessible outing, already had the unique vocal growl and hints of the disjointed rhythmic primitivism that was the sonic fingerprint of all his later output. A few years later Trout Mask Replica hit and the legend and myth of Captain Beefheart had been cemented for all-time. The most obvious thing you could say was that nobody else sounded like him, his voice and band sound was unmistakable. The blues inflections and homage to Howlin’ Wolf were apparent. But he appeared like his contemporary and former class and band mate Frank Zappa during the mid 60’s rock scene. Breaking from conventional pop forms and inventing itself, “anything goes” seem to be in the air, the avant garde, free jazz the blues and the good man’s background as a childhood art prodigy informed his trajectory like nobody else.
Some of my favorite lyrics include:
That’s right, the Mascara Snake. Fast and bulbous.
Big eyed beans from venus,
Tropical Hot Dog Night
Like two flamingoes in a fruit fight
...I could go on and on. When Doc At The Radar Station came out in 1980, it fit in with the incredible stuff coming out at the time and fit in perfectly with my new life in Calgary. Hot Head, Ashtray Heart, Run Paint Run Run got played along with Talking Heads Remain in Light and The Buzzcocks A Different Kind of Tension, Iggy’s New Values and Joy Divisions Closer.
During the summer of 1994 I went with friends to the UK to visit their friends in Scotland and eventually get a bit of time to myself in London. One of the first things I did in London was check out the NME to see what was going on around town. The only item that really caught my eye was an art exhibit in Brighton, a coastal tourist town a couple hours drive from the downtown. It was for a solo art exhibit for Don Van Vliet displaying his talents as a modern art painter in the tradition of Abstract Expressionism. A bit too expensive on my limited budget at the time, I accepted that this was one exhibit I would have to miss. On the day my charter was to leave Heathrow, I was informed technical problems would delay my flight about 12 hours so the airline put us all on a bus and took us to Brighton for the day. Incredible. It was destiny really and I was off the bus in a flash and tracked down The Brighton Museum and Art Gallery in minutes. I knew of his reputation as an excellent painter and the paintings reflected the album artwork that he had adorned his albums with for years. The exhibit also had video and audio archives, more than enough to keep me in the gallery for 3 hours.
On Friday January 14th we’ll be holding our own Captain Beefheart birthday/memorial. We’re arranging a special screening of concert and interview segments from his music career, sale pricing on all Beefheart CD’s and LP’s and a bit of memorabilia. Stay tuned to our website for upcoming details.
Across the light, across the night
You can hear the Captain’s cry
- Greg Tonn
THE GLOBE & MAIL ONLINE EDITION
Winnipeg music store bucks sales trend
Greg Tonn looked at the tally for a week and noticed a continuing decline in the number and dollar value of compact discs being sold at his Winnipeg store, Into The Music. There was no doubt about it - the market for CDs appeared to have peaked. Given that a large part of his bread and butter came from the sale of new and used CDs what, if anything, could he do about it?
In 1987, Winnipeg entrepreneur Mr. Tonn turned his personal LP collection of more than 2,000 albums into a specialty venture, which he called Into the Music. According to Mr. Tonn, his strategy was to be “short on junk and long on gems.” The establishment originally opened its doors on Corydon Avenue in the middle of Winnipeg’s Little Italy, with the store relocating in 1990 to the Osborne Village area. This was where business really took off as used CDs poured into, and out of, the store.
In short order, Into The Music effectively developed a city-wide following, making it one of the places to go for music. Given the store’s eclectic focus on specialty jazz, classical, punk, blues, deleted recordings, and new hard-to-find imports, it was no surprise when the store received the 1999 award for “best retail store for the Prairie provinces” at the 1999 Prairie Music Awards.
In 2003, the store relocated to Winnipeg’s rejuvenated Exchange District, after Mr. Tonn and his Osborne landlord were unable to agree on a new lease. Located just three blocks from the city’s epicentre at Portage and Main, the move was a very good decision. With Red River College opening its downtown campus just a few blocks away, a lot of tech-savvy businesses in the area, and some complementary retail in close proximity, the store had again become one of “the” places to go for music.
CDs made a big splash in the 1980s, resulting in the rapid marginalization of vinyl. As a result, many LP collections were dumped en masse in the 1990s, with Mr. Tonn buying several at rock-bottom prices. Demand for CDs has recently started to cool. While they had accounted for about 65 per cent of the store’s unit sales in the early 2000s, CD sales as a percentage have been sliding, with recent estimates somewhere in the low 40s.
Mr. Tonn noticed one other development along with the decline in CD sales: a rediscovery of vinyl LPs as format for music hobbyists.
While the music industry had changed in a number of ways, including the emergence of an online market for downloaded music and the housing of personal collections on iPods, a less conspicuous development was the quiet re-emergence of the serious collector. These individuals, Mr. Tonn believes, still value music as a physical artifact that sits on their shelves and not just on their computers. He also believes these customers are “into vinyl,” as something to collect and also to act as a protest against an increasingly digitized culture.
This penchant for collecting is not age-related, Mr. Tonn says, with both young and old picking up the bug. While one group, say the 50-plus oldsters, might prefer one format, such as CDs, another, like the Goths, might prefer a specific genre, such as British heavy metal. One key commonality for all groups was a renewed appreciation for music as a physical artifact that provided a source of personal identification.
In response to this development, Mr. Tonn sought to reorient the store as an indispensable middleman for the serious collector. While some less volatile segments, such as jazz and classical, were especially well suited for collecting, it appeared the opportunity for such a service existed across virtually all segments. The move also had implications for his online business, where he had recently sold musical rarities such as the first 45-RPM recording released by former Winnipegger Neil Young and The Squires.
Mr. Tonn reports that his last year-end was his best since the mid 1990s, with the store widely recognized as one of Manitoba’s go-to places for rare and interesting music. While he recognizes vinyl will never regain its former prominence, he’s convinced it will remain a strong hobby format.
He has further enriched his in-store offerings with a variety of events, including performances by musicians from the city and beyond. Into the Music also refreshes its website at least twice a week. Letting customers know about recent arrivals is critical: Mr. Tonn estimates 300-plus LPs and 400-plus CDs get added each week to the store’s collection.
The CD market may be getting a bit more compact, but the opportunity to help music collectors collect doesn’t seem to be going away any time soon.
Special to The Globe and Mail
Reg Litz is a professor in the Asper School of Business of the University of Manitoba.
I had a few minutes to chat on the phone with Kevin Drew from Broken Social Scene last week about honesty, making a large band work and the Blue Bombers.
ITM: Hi Kevin, my name is Kerri and I’m calling from Into The Music in Winnipeg.
KD: I LOVE Winnipeg!
KD: Our Sound director - who has been our sound guy for a while - 7 years or so - He’s probably the #1 biggest Blue Bombers fan. We know every fuckin’ player, every game - we’re always pulling over to find internet so he can watch them. The bus is always a little Winnipeg Bombers shrine. I have to say - after following their season - I felt sorry for him a lot of the time but when I found out they won 32-2 or something like that - well, it’s basically a massive Bomber’s situation for Broken Social Scene. So, YES. We love Winnipeg.
ITM: That’s great! Ok - so down to the questions. How and when did you start playing music?
KD: I was a little kid and started banging on stuff. So I was playing music since I was pretty young. I didn’t really start playing guitar till I was 18 and took piano when I was a little kid. I stopped playing piano but got into lots of keyboards, a lot of drones and a lot of Brian Eno.
ITM: I read somewhere that it’s very important that your music remains honest. How do you keep that honesty with such a large collaboration of people?
KD: Well, that’s pretty simple because everyone is pretty straight up about the intentions of the songs when we go into them. There are ways you can manipulate tunes, there are ways that you can think about songs - but if you just kind of let it happen and you’re all there to guide it together, then the intentions behind it are genuine. It makes for an honest song.
ITM: So - Who are your favorite songwriters?
KD: Oooh…hmm…(laughs) Well, that would depend. I’m a big fan of Issac Brock, or I could go WAY back to the other guys. Curtis Mayfield was always someone I would “go to” as a songwriter. I love so much music that it’s very difficult to be specific about it.
ITM: Was it an easy collaboration to create? Does Broken Social Scene have an easy chemistry or did that take time?
KD: Yeah - it does come pretty easy. I can’t really get into much more detail than that. Everyone has their own understanding of melody. I think it was everyone who was bringing in their own aspects of what a song was, was what worked about this band. It really gelled. We all had different backgrounds but we all came together really easily with the music.
ITM: What advice would you give an artist that wants to put together a band of 12-16 people?
KD: You have to very much understand the word “compromise.” You can’t make it something that you are proving to yourself that you can do. Meaning - you can’t make it this pinpoint in your life where you are like - This is where my voice is - b/c there are going to be a LOT of voices. You have to really understand what it means to have teamwork. You have to let the positions of people happen naturally and not think it’s going to work right away. It takes a few years to find your place in a big band as you’re going out there the world. I guess if you’re going to be in a big band it’s b/c you’re not concerned about yourself. I think the big thing is - don’t use it as a platform for YOU.
ITM: Do you find the time to play solo ever? Or is that even something you would do if you could?
KD: I don’t. I think later on in life - as we get older - it would be great to go out and do stuff like that. But for now, we all made a pact that we would put those things aside and just focus on this. But yeah - someday I’d love to play solo.
ITM: Tell me about the new record “Forgiveness Rock Record”
KD: I think it was the best process we’ve had yet. It was a lot of fun and it was great to be down in Chicago and great to work in Toronto. The songs are working live and we are definitely enjoying playing them. We try and follow that rule - Make sure you love every song b/c we’re going to playing them for a long, long time - When we’re playing these new songs we’re realizing - Ok, we pulled that one off - So, it’s working out.
ITM: How do you find you are able to keep yourself grounded during all of the tour dates, the interviews and sheer exhaustion?
KD: It’s difficult, but at this point in the game, the only thing that keeps you grounded is that you’ve done it all before. So, when you have a bad attitude about something you don’t want to repetitively have a bad attitude about it, that doesn’t help anyone involved. You understand that that’s your life and your day is what consists of those things we’ve just said. You try to be happy about it. Be happy that people are talking to you and that you have these problems that you have. We are all a lot older than we were when we first started out and we’ve gone through almost every problem a band can go through. We’ve repeated those problems and we’ve repeated a lot of these problems again. So you realize that - ok, this is just part of the job - so you just treat it that way. They aren’t problems anymore, they are just things you are going to run into when you’re doing this.
ITM: Great, well thank you SO much for talking to me, and I’ll see you in Winnipeg!
KD: I’ll SEE YOU IN THE PEG!
Broken Social Scene played the Burton Cummings Theatre on Wednesday, October 6th.
For those of you who have been having internet problems as of lately (as I know I have) we have figured out the source of the problem. Apparently Al Conroy’s (ITM staff) cat - Mr Squirrel - was locked for 20 minutes inside a Lazy Susan without notice. Upon realizing Mr Squirrel was trapped inside, Al quickly released him only to find that the Lazy Susan was in fact a time warp. This time warp sent Mr Squirrel back in time in which he claimed upon his return to have invented the internet. Either he isn’t getting his dues or he’s opened a Swiss bank account in which he is hording his earnings towards college or a vacation. For those annoyed by the internet problems, we ensure we will send Mr Squirrel back into the Lazy Susan to solve all problems. This time he will go in uniformed and mentally prepared for his ventures. We hope to have this problem resolved very soon. Thank you for your patience.
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