Record Store Remembrances

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 95^th 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 2^nd 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.