With
the recent death of Tower Records founder Russ Solomon, I've spent a
lot of time reflecting on record stores.
Rock 'n' roll grabbed a hold of me early. Hearing the Beatles
harmonize on “She Loves You” electrified me; the resulting
adrenaline rush was one of the best things I'd ever felt in my
seven years on Earth.
It
lured me into the local rec center, where on summer evenings a
jukebox would play deep into the forbidden recesses of night (which
was probably all of 10 PM). I would wander among the dancing
teen-agers while Tommy James & the Shondells' “Hanky Panky”
blared its lurid message, aroused by the vague but tangible feeling
that something illicit was in the air.
Even
in the innocent hours of afternoon, word of a “combo” running
through some songs in a local garage would spread like wildfire, and
suitably ignited, my friends and I would chase the sound like
caffeinated bats honing in on food.
(I
remember one band playing an unusually fiery version of “Gloria”,
and wonder in retrospect if it wasn't the Shadows of Knight. The home
was owned by an open-minded music teacher, who would've been
sympathetic to a bunch of guys needing a place to rehearse. Plus it
wasn't very far from the Knights' home base. But
I'll never know for sure.)
My
ability to listen to rock music went through the usual stages, moving
from the transistor radio one grandmother bought me to the AM/FM
radio another bestowed upon me to the eventual purchase an actual stereo. A
very nifty and durable Panasonic.
Bereft of income, I asked for albums as Christmas gifts. The Beatles, Rod
Stewart and early Chicago were deemed appropriate by my parents. It
took my grandmother (yep—the same one who gifted me with the
transistor radio) to introduce the hormonal wail of Deep Purple, Led
Zeppelin and Jimi Hendrix into the family home.
(To
this day, my siblings fail to appreciate the parental tenderizing I
did so that they might one day enjoy this music unburdened by the social
unease that accompanies being regarded as an alien lifeform by your mom and dad.)
This
incremental access exploded with the receipt of a driver's license.
Armed with cash from a part-time job, I could now venture to the
'cool' record stores, which invariably lay beyond the confines of my
provincial hometown.
When
time and money (not to mention a car) were available, I was off to
Old Town, where Uno's Bizarre Bazaar—a remnant of the
counterculture that had flowered in the neighborhood a decade
earlier—offered bootlegs.
The
nearby suburb of Norridge featured Rolling Stone, a noisy, enormous
store with coquettish cashiers who smoked cigarettes and wished you
were David Bowie or Robert Plant. But only E. J. Korvettes could beat their prices.
The
demands of higher education soon absorbed the majority of my money
and my time, and my record-buying suffered accordingly. It was only
after graduation that I began to explore the enormous city I lived in
and satiated my lust for vinyl.
Wax
Trax was my first obsession, since their remarkable inventory either
carried every punk and new wave forty-five and import LP Trouser
Press raved about or every punk and new wave forty-five and
import LP they should have been raving about.
(That
the cooler-than-thou clerks would sometimes condescend to speak with
you was just a bonus.)
Unfortunately,
this period coincided with the arrival of my first Visa card, and
soon I was spending a disproportionate amount of my income there. On
the bright side, I was able to list Wax Trax as a dependent at tax
time.
When
co-founder Jim Nash died, holes began to appear in the
rigorously-maintained inventory, and it gradually became a
less-urgent destination. While this was a boon to my financial well-being, area entrepreneurs had taken note of Wax Trax's success and it
wasn't long before their shops were—to varying degrees—taking up
the slack.
Evanston's
Vintage Vinyl was probably foremost in my experience. It was
similarly pricey, but what I assume was its owner (a very tall guy
with clear plastic glasses and unfailingly dressed in leather pants)
was at least helpful.
It
was also the cleanest record store I'd ever been in. God knows
I've crawled through places capable of incubating the Hanta virus,
but there wasn't a chance of that at Vintage Vinyl. Hell, sometimes I
felt guilty just rifling through the stock.
The
only thing capable of marring those carefree days was the burden of
parking. I could listen to the extended dance mix of my favorite song
more times than anyone ever intended in the time it took to locate a
$#@!& parking space.
It
was on one such trip to Evanston that I glimpsed my salvation: the
CTA. Its Red Line ran all the way from Evanston to 95th
Street, and conveniently stopped everywhere there was a record store
I needed to visit. (That's needed, as in involuntary.)
An
unintended benefit was that without a trunk, my impulsive excesses
were kept in check. I mean, did I really want to lug around a copy of
The Country Soul of Mrs. Miller for six hours?
Probably
not.
An
emerging interest in rhythm and blues and soul led me to the south
side and Hyde Park, where Dr. Wax and 2nd Hand Tunes
nourished and sustained it.
Chicago
was an ideal place to be interested in R&B, as its sizeable
African-American population meant an enormous number of records had
been bought and subsequently re-sold to resale shops when supplanted
by rhythm and blue's latest and greatest.
Visits
to Hyde Park yielded copies of albums by Ray Charles, LaVern Baker,
Laura Lee, the Chi-Lites and Little Beaver. 100 Proof (Aged in Soul),
Ecstasy, Passion and Pain, Denise LaSalle, Syl Johnson, Esther
Phillips and Latimore.
Those
record stores were islands of commonality. Places where only one
strain of human being existed: music lovers. It was in these shops
that the delusion of blacks and whites living peacefully side by side
could be entertained.
In
between the terminuses of the Red Line lay a raft of great records
stores: The one whose name I can't recall on Sheridan Road near
Loyola. The three-story monolith on Wabash that was Rose Records'
flagship store. And the Jazz Record Mart on Grand, where on a good
day owner Bob Koester would regale you with stories.
The
purchase of Howlin' Wolf Live in Germany 1964 provoked my
favorite.
Koester
was backstage at a blues festival in the early-sixties when Sonny
Boy Williamson happened to run into Howlin' Wolf, who had just
completed his set. Williamson sized up the imposing Wolf, sweating
from the exertion of his performance.
Then
he spoke.
“I
got to tell you something, Wolf. You sing like a motherfucker!”
High
praise, indeed. I'd be lying if I claimed not to want that kind of
life.
Not
that my quests for vinyl weren't fulfilling.
There was the Saturday
night in the early-eighties that I strolled down Michigan Avenue in a light snow,
in no particular hurry to get anywhere. At Dearborn and Washington, I descended the stairs to the subway and paid my fare.
Midway
through a cigarette, I was greeted by a train consisting of the green
and cream-colored cars of the nineteen-fifties. They featured brown
naugahyde-covered seats and incandescent lighting and were, in
retrospect, almost intimate.
I
took a seat, opened my bag and examined my latest treasures.
Engrossed
in the liner notes to a “5” Royales or Siouxsie & the
Banshees compilation, accompanied by the rhythmic click-clack of the
car's wheels on steel and the slight rocking motion endemic to rail
travel, I needed nothing else.
Amid
the noisy rush of my youth, this was a lesson in how resonant and
sublime quiet contentment could be.
Fast-forward
to the twenty-first century. Perusing e-Bay and the hordes of online
sellers just isn't the same. With instant access to a world of
vendors, there is no anticipation, no near-misses. The product is
there, first time every time. There is no sweat equity. It is utterly
drama-free.
I
didn't know it at the time, but I liked the drama. I liked flipping
through thousands of albums over countless visits, which only
intensified the shock and subsequent slow-motion joy when I finally
went face-to-face with a copy of Paul Kelly's Dirt or
Willie Hightower's If I Had a Hammer.
Not
only did I like the drama, I miss it. For better or worse, life is
different now.
My
mother was really good at not taking things for granted. Hopefully, so
am I.