You walk into your local record store and head straight to the unsorted New Arrivals bin. You flip through seemingly endless copies of ‘Rumours‘ and ‘Thriller‘ in hopes that someone sold their textured sleeve of ‘Unknown Pleasures‘ to make rent. The girl behind the counter catches your disappointment as you reach the end of the bin empty-handed (again) and the conversation turns to that new Melvins wax, ‘A Walk With Love & Death‘. You snag it, walk home, drop it on the turntable and immediately say, “She was right, this is badass!”
Grimey’s Records has been saving music since 1999! Mike Grimes put the Grimey’s shingle out on a small house in the Berry Hill community of Nashville and started slinging mostly used LPs and CDs. Doyle Davis, a longtime manager of local institution The Great Escape, went halfsies with Mike and has been running Grimey’s since 2002. In 2004, Grimey’s Records brought store manager Anna Lundy aboard and proceeded to establish itself as the premier independent record store in Nashville, Tennessee. Focusing on vinyl from the beginning, while promoting local artists with rack space and in-store performances, Grimey’s grew to International status over the years with in-store appearances by a veritable who’s who of indie and established acts. Metallica, The Black Keys, Phoenix, Paramore, Kurt Vile, Mac Demarco, and Mumford & Sons among others have all played at Grimey’s. Fast forward to today, Grimey’s is an expanded experience, opening Grimey’s Too next door and adding a bookstore and coffee shop to the mix, while more than doubling the amount of new vinyl in stock.
Staff recommendations are key to some of the best music finds and who’s more qualified than the experts at a Nashville institution. And if you find yourself in Nashville make sure to find time to drop by The Basement, The Basement East, and The Beast Pub. All three venues are owned by Mike Grimes and are integral to the Nashville scene.
Let’s hear which records Grimey’s staff want you to check out today…
This sample-a-delic LP is a swinging, scathing look at society in the early ’70s from the African American perspective that was so raw, real and right on that the Nixon administration tried to suppress it (which may account for its rarity). Top shelf jazz cats lay down deep dish grooves while McDaniels’ wonderfully eccentric vocalese colors the palette in unusual shades. Sampled by Beastie Boys, A Tribe Called Quest, Pete Rock and others, it’s a heady brew guaranteed to blow your mind a time or two.
– Doyle Davis, Co-Owner/Vinylist
The self-titled album from Chicago’s unassuming, post-punkers, Hecks clocks in right at thirty minutes, making for a mighty mini-album. Punctuated with industrial inspired, noise-heavy tracks and snappy, upbeat interludes, Hecks, is a jangly and droney pop record. Fuzzy tones and warm vocals swimming amongst mild clamor, clatter, and clang makes for a record that begs to flipped again and again.
– Anna Lundy, Indiepop Princess/Manager
From the opening, sweeping notes of “Tears of Unicorn” to the calm and soothing closer “Requiem”, Masayoshi Fujita shows he is a master of his instrument, the vibraphone. He also shows his skill as a composer as he orchestrates simple & full arrangements filled with strings, horns & more. This album is full of charm, intrigue & imagination. Every time I listen, I discover new instruments & sounds that dance in & out of the delicate sustain of the vibraphone. Pure beauty!
– Smokin’ Josh Walker Assistant Manager
Almost everyone knows the Little Richard of the 1950s and early 1960s, but one of the most overlooked spans in rock n’ roll history is Little Richard’s early 1970s catalog. The King Of Rock n’ Roll features 10 covers and 1 original. And boy, do those covers take on their own life. ‘Brown Sugar’, ‘Joy To The World’, and ‘Born On The Bayou’ to the uneducated ear could easily sound like some of Little Richard’s funkiest, coked-out-soul compositions of his career. Fast, funky, and nearly out of control, this record is a no doubt party on a platter.
– Tyler Glaser, Staffer & Preloved Record Buyer
Juana Molina’s fourth solo record finds her expanding and diversifying her hypnotic, electronically-tinged folk, dusting her guitar loop-based compositions with sighing synths, all anchored by her serene but expressive voice. The album’s tone ranges from meditative but sunny sylvan sing-alongs like “Yo No” and “La Verdad,” in which choruses of her own vocals playfully punctuate her progressive, gently unfolding song structures, to starker, moodier pieces like “Micael,” whose quiet fingerpicked tension breaks into a spine-tingling climax of cymbals and percussive vocalizations. Though the lyrics are in Spanish, Molina’s experimental, surreal approach to songwriting, permeated with her earthy sense of humor, will entertain any listener with an affinity for getting lost down lush and surprising melodic rabbit holes.
– Will Orman, Staffer & Buyer