Consider Stereo Jack’s Records the final entry in our “Totally Excellent” Cambridge Day Record Walk series (for now), the final link in the chain of a daylong music store promenade through Camberville. Great fun for Record Store Day next April, great fun anytime.
Enter the record shop at 736 Broadway, Ball Square, Somerville, and you’ll be greeted by a headwind of fresh-cut wood. That’s the tall stacks of artisanally crafted record shelves for sale. Pine scents. Or whatever the hell type of wood they use. If your friends, family and loved ones tell you you have too many records, the right response is (after giggling like an idiot): “Au contraire, I have too few record shelves!”
The interior of Stereo Jack’s Records is a cozy, inviting sprawl with jazz music on the house mix. A version of the typical “island” floor plan allows for easy and efficient browsing of the inventory, whether you’re interested in a specific title or just breezing in for an afternoon of crate digging.
The dominant genres in stock are jazz and rock, with some salutary offerings scattered among blues, soul, classical, gospel, reggae, country and world. If you’re a vinyl head, you’ll enjoy the predominantly wax collection, although there was a limited selection of CDs and cassettes too.
The music comes new and used. Don’t expect huge discounts on either. The brand-name selections, whether new releases or reissues of classics, will run you in the $25 to $50 zone. If you’re willing to dig through some crates, value picks can be found in the more digestible zone of $5 to $20.
A pair of crate diggers from South America were visiting the shop the day I stopped in. As they flipped through the inventory, they chewed the fat with the friendly owner, trading diehard-collector anecdotes. “In Brazilian record stores,” one of them said, “you can still sometimes find first-edition Beatles’ records in the stacks.” Everyone in the store greeted the nugget with a quick intake of air, followed by a respectful moment of silence.
Hit this
Friday to Sunday: Buffalo Tom: Please Come To Boston Fest (Arts at the Armory, Somerville)
Local veteran alt rockers Buffalo Tom wanted to put on a show. Then they thought to themselves: “Why not three shows? Turn it into a fest? And we’ll headline each night by playing a different ‘full album’ set each night?” A lot of vigorous head nodding ensued, and the thing is finally happening at Somerville’s favorite army barracks. Friday is “Let Me Come Over,” Saturday is “Big Red Letter Day” and Sunday is, naturally, “Sleepy Eyed.” Supporting acts, comedians including Eugene Mirman, readings from the Earfull Series and Hilken Mancini’s Punk Rock Aerobics are all in the mix.
Tuesday: Scottish Session (The Druid, Cambridge)
In good times and bad times alike, it’s best to be surrounded by your loved ones. But in uncertain times, such as election night, when you don’t know whether the world is going to slide off into the fire or the frying pan, it’s best to be surrounded by booze. Lots of booze. And don’t forget the Scottish Session, playing a set of traditional folk tunes in Inman Square’s favored Irish Pub. Ease into the four-year panic. Admittance is free, but if you start sobbing too loudly you’ll be asked to leave.
Nov. 7: Orla Gartland (Arts at the Armory, Somerville)
Last minute-ish venue change from Berklee’s Cafe 939 to Somerville’s Armory for Orla Gartland’s Thursday night gig. That represents a 100 percent increase in room capacity, so maybe the Dublin-born, London-based artist has a bigger draw than anticipated? The demographics in the Boston area have continued to evolve since the Great Potato Famine of the 19th century, but red-haired Irish pop starlettes still have longer legs here than anywhere else. Gartland is touring in support of her sophomore album “Everybody Needs A Hero,” full of rock ’n’ roll textures, cut with a steady pop bounce.
Live review: Otis Shanty at Crystal Ballroom
Indie rockers Otis Shanty celebrated the release of their new album “Up On The Hill” at everyone’s favorite chandelier emporium above the Somerville Theatre. Crystal Ballroom! Good for weddings, so-so for timely beverage sales and great for music. The headliners were joined by local openers Small Pond, Lost Film and Night Moth.
A four-band bill produces a decent amount of shuffling on stage, with bands loading in and out between sets. One item that never moved an inch, though, was the trumpet belonging to Otis Shanty fronter Sadye Bobbette. Boss move power play? A bit of stagecraft?
Maybe a subtle wink and nod to family in the crowd, who must have endured many otherwise sleepy Sunday afternoons full of brass honking before young Sadye found her groove. “Look ma, people pay to hear this now!”
How much do they pay? Fifteen dollars in advance and $18 on the day of show. Add the service fee ($4.95), facility fee ($2) and order processing fee ($3.05) and that’s a $28 “day of show” ticket. Ahhh, gentle Ticketmaster, be still my beating heart. You can imagine what gets split four ways after Caesar has taken his tribute.
For what it’s worth, the cost was a small fraction of the $300 you would have paid to see the Pixies at The Sinclair on the same night. Three hundred dollars, wow! That’s not Eras Tour money, but it’s nothing to sniff at. If you want to stretch your indie rock dollar, go see actual indie rock, rather than beloved nostalgia acts.
Totally random closing thought. How creepy are the automated hi-beams above the stage at Crystal Ballroom when they continue to point & swivel even when they’re not projecting light? Like AI-assisted gun turrets hunting human prey …
Michael Gutierrez is an author, educator, activist and editor-in-chief at Hump Day News.
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