Village green records reverb lp1/5/2023 ![]() We have pinball! We support local! We are proud to be a member of the BRVA: Broad Ripple Village Association. ![]() In the Broad Ripple shop we also carry for sale vinyl records, DVDs, Blu-Ray video, CDs, tapes, 45s, 7-inch singles, posters, t-shirts, box sets, turntables and record players, speakers, needles, cartridges, guitar picks, teenage engineering pocket operator synths, guitar straps, guitar strings, record cleaners, 45 adapters, record cleaning cloths, LP frames, collectibles, autographs, greeting cards, postcards, books, tote bags, koozies, coffee mugs, record crates, record storage containers, stickers, patches, pins, enamel pins, and brand names such as Audio-Technica, Klipsch, Audio Pacific, Audio Engine, Grado, D'addario, Vinyl Styl, Edifier, Rega, Third Man Records, and more. We have most of our used inventory online via our Reverb LP and Discogs accounts as well. We offer pre-orders of new releases and albums on our web store, as well as direct shipping of new music via our website or smartphone app. We carry deep selections of the best records and compact discs and cassettes in every genre, all with a helpful and knowledgeable staff. Voted best record store year after year by readers of NUVO Newsweekly and The Indianapolis Star. We are the premier independent record shop in Indianapolis, Indiana. That I thought he was some kind of savant, a genius.Indy CD & Vinyl is a member of CIMS, the Coalition of Independent Record Stores and a participant in the annual Record Store Day. “Trouble and trouble, trouble and trouble.” He so accurately captured where I was by 89, running around that race track, attempting to press the pause on the self-destruct, He recounted street scenes, never-ending parties generated out of necessity, out of having nowhere to sleep, stories of “robbers and bashers”, dealers, dancers, chancers and blaggers, in the argot of robbers and bashers, dealers, dancers, chancers and blaggers. Lean and nimble privatizations that benefited investors and fucked the workers. Shaun was the confrontational, unapologetic voice of a non-working class forced into black market commerce by Maggie`s neo-liberalist reforms. They were the disaffected youth who ignited the second summer of love, and rave. The reason The Mondays were so prophetic and captured the mood, the zeitgeist?, was because they represented the first wave of the acid house army. In parallel to what was happening in London at Shoom, Future and then Spectrum. Fuelling a secret that in 1988 exploded out of the alcoves at The Hacienda, at Nude and then Hot, and the lock-ins at Stuffed Olives. When some of Manchester’s enterprising “traveling” community ( “Everyone on this Stagecoach likes robbing and bashing”), having experienced the incendiary effect of mixing the two together that summer at Ibiza`s Amnesia, brought a load of pills in from Amsterdam. But the E / house music connection wasn’t made until late 87. Factory Records founder Tony Wilson would also recall the floors of the Mondays “digs” being littered with vinyl, dance 12s on labels like Trax and DJ International. Mike Pickering and Martin Prendergast, as MP2, since 1984, had been spinning more and more music from Chicago and Detroit at Nude on a Friday night at The Hacienda. Pre-the drug’s flood into Manchester, London, the UK. When I looked at the cover I imagined the twisted Ralph Steadman-like skeletal silhouette was Ecstasy’s excess, and the background a beach in Ibiza. Before a friend of my sister`s claimed it one morning after. scene of the period, this oddball crew created a debut album of herky jerk new wave godhead that stands as both one of the finest releases of the L.A. The record had been name-checked in London’s “acid house village newspaper”, the Boys Own fanzine, and I wore my t-shirt bearing the Central Station Design everywhere. With a sound that owed more to the Akron, Ohio Devo/Tin Huey axis that anything else transpiring in the L.A. By which time everyone`s landscape had changed. After the gig I borrowed the LP from the University record library, but I didn’t actually buy any Mondays records until Factory reissued Freaky Dancin` in 88. In hindsight we were lucky we didn’t get a shoeing. The band carried on, oblivious to the two cunts in front of them. I`d read a review of their debut LP, Squirrel And G-Man…, in the NME, but I hadn’t heard it. Doing various banging exercises with two blocks of wood. Me and H were smashed ourselves, and we shook about, flailing, oscillating wildly, at the foot of the stage impersonating “percussionist” Bez* – who was already locked into his trademark trance-dance. Instead of The Bodines we got the Happy Mondays. An incoherent explanation of the band`s absence, which I think involved a gun. ![]() But arriving at the venue we found a note pinned to the door. The Bodines were due to play Leeds Warehouse one night in the spring of 87. ![]()
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