Alex Rodriguez Opens Record Safari LA in Atwater Village to the Delight of Vivacious Vinyl Lovers

Alex Rodriguez Opens Record Safari LA in Atwater Village to the Delight of Vivacious Vinyl Lovers
July 12, 2021
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The Los Angeles music community turned out en masse over the weekend for the opening of Record Safari Los Angeles, the newest retail offering from Alex Rodriguez.

Rodriguez, the beloved record collector and music curator who travels high and low to find albums to bring to the people, was deluged opening weekend with hundreds of customers who came to shop at the new store, located in Atwater Village.

Alex Rodriguez opens Record Safari LA – Courtesy image

Rodriguez is a well-known personality in the vinyl biz. He established The Glass House Record Store, located next door to the Glass House music venue in Pomona.

“The turnout was way crazier than I expected and it was so wonderful to see everyone that came out,” Rodriguez said. “Thank you all for constantly inspiring me to keep digging up records!!”

The new store came together as a team effort, Rodriguez said. It was a labor of love converting the building from a former recording studio into a retail outlet.

Cassandra created the record racks for Record Safari – Alex Rodriguez photo

Rodriguez has made it his life’s passion to seek out great albums. As curator for Coachella’s on-site record store, he has become a famed fixture in the SoCal music scene.

He is so established in fact, there was a documentary film “Record Safari” made about him, and it’s been a hit on the indie scene. The film depicts Rodriguez doing what he loves to do: Travelling the nation to find the finest in vinyl recordings. And his efforts as one of the country’s top “vinyl-ologists” help others to check off albums on their wish list.

Mark Atherlay met Robert standing in line at Record Safari LA at 6:50 AM on Saturday – Courtesy LAVinyl77

“Alex is the man!” said record enthusiast Mark Atherlay, who got in line at 6:50 AM on Saturday to support friend Rodriguez and the new store.

“In fact I’m just one of many who sold him nearly three quarters of my vinyl collection,” he said. “It was a stellar and smooth day all due to the sheer amount prep that went into the Grand Opening.”

Neon art by @dani_bonnet at Record Safari – Rodriguez photo

As the story goes, the owner of the Glass House Concert Hall in Pomona opened a record store beside the venue and met Alex at a swap — of course — buying records. Alex eventually worked his way up to general manager of the Glass House. 

Goldenvoice and Coachella called on Alex to build a record store for the festival, a job that led to his first of many cross country purchasing trips.

But over the weekend Rodriguez did not have to travel for his latest success. The community came together to support him, with musicians, artists and crafts people — as well as record fans — gathering in Atwater Village on one of the hottest weekends of the year. 

Adam Bones of The Two Tens buys vinyl at Record Safari LA – Courtesy

There were lines outside the store over the weekend as record collectors queued up in anticipation of the opening of Record Safari LA, affording vinyl buyers a new, more centrally located retail resource.

“It was pretty cool,” said Adam Bones of the LA Bands The Two Tens and FriendlyBear. “I went with my brother and we both picked up a handful of records. They had a lot of rare original print stuff. We found some nice gems in there.”

For those who love to spin the vinyl and have a true appreciation for tunes, the new Record Safari LA is a destination that should not be missed. It’s located at 3222 Los Feliz Blvd. LA, CA 90039.

For more information check out the Record Safari LA Instagram.

Donna Balancia is the publisher of California Rocker, and the new U.S. Rocker. Contact her at sales@californiarocker or follow California Rocker on Instagram.


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King Gizzard and The Lizard Wizard Continues Psych Rock Story with ‘KG’

King Gizzard and The Lizard Wizard Continues Psych Rock Story with ‘KG’
December 14, 2020
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King Gizzard and the Lizard Wizard have a new album. While this is perhaps one of the most omnipresent phrases in the modern rock world, the Australian psych-rock outfit have something rejuvenating in-store for new release KG.

As their 16th – yes, 16th – studio record for the decade old group, KG was curiously anticipated by many fans as, unlike their previous releases that tend to blur together in King Gizzard’s lengthy discography, integral member and percussionist Eric Moore departed from the original lineup since their latest release Infest the Rat’s Nest in late August.

While the departure came as a disappointment for audiences as Moore often played a defining role in the group’s experimental sound, the new lineup throws a wrench in King Gizzard’s long standing sonic recipe. That is not to downplay the progressive nature of their musical artistry, especially in a time where the mainstream is not always eager to accept experimental rock with open arms.

Leading the charge in psychedelic rock and experimentation in the modern day is no easy task, and King Gizzard continues to fulfill their duties with the wayfaring and evidently curious journey that is KG.

Regarding the record, KG incorporates an obvious Sahel influence into the production of each of their tracks with sitar-laden sonics and spurring Eastern electric guitar sequences. But the overall standout components of the record’s sound are the shattering percussive arrangements. Despite Moore’s departure from the group, second drummer Michael Cavanagh has managed to pick up the slack in their latest. A combination of pulverizing hard-hits and speedy patterns marked by catchy licks acts as a through-line in each track, adding a layer of much-needed continuity to an eclectic project.

The Gizz not only present an intriguing kaleidoscopic realm with KG, similarly to their other projects, but they create a listening experience that is holistically immersive from the instrumental “K.G.L.W.” opener to the somehow simultaneously slow-burning and electrically bombastic “The Hungry Wolf of Fate” closer.

Even with the occasional variation in vocal styles, the tracks mysteriously and seamlessly flow into each other- not a simple feat for a group that is touted for their diverse and ever-changing dynamics, even within the confines of each discrete body of work.

Aptly-titled opener “K.G.L.W.” perfectly and swiftly sets the tone for the entire project by showcasing the distinct sonic structure that would be implemented and mutated throughout: thunderous, yet technical percussion, catchy electric guitar lines, all accentuated by bouts of sitar and other Eastern influences. The solely instrumental track strategically sets the focus of the record on their groundbreaking aural production, showcased most beautifully in “Automation,” and shifts the focus away from the lyrics overall, oftentimes acting solely as a mode to move tracks along and bare some sort of structure from the flurry of their Sahel psychedelia honky-tonk-rock crossover.

With any luck, King Gizzard will achieve Guided by Voices-esque production rates and continue to deliver the music world’s daily dose of psychotropic fantasia for years to come.



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