991.com brings you excerpts from this weeks R.C. Weekly Newsletter. Contact david.harvey@metropolis.co.uk if you want to receive the full unedited version every week and please mention 991.
******
The big news in Britain is Sir Alex Ferguson announcing his retirement. I am somewhat disappointed that my name has not been mentioned for the briefly vacant role of Manchester United manager. I am no stranger to delivering the hairdryer treatment, having run my own chain of record shop/hairdressers for many years, Hairy Freekz (motto: “Our records are covered in hair. Try HMV next time”). And shouting in a Scottish accent is something one mastered at RADA, darling. No, not the acting academy, it turned me down for having no talent whatsoever; I mean Records And Discs Aberdeen, a market stall I frequented where the proprietor couldn’t hear you because he played Montrose at high volume all day, believing they came from the town in Angus rather than California (bet you were expecting AC/DC). Despite the fact that the Man U hierarchy has ignored my obvious claim to his role, in tribute to the great Sir Alex all the records RC’s staff listen to today will have eight minutes of time added – for no apparent reason. Fergie is said to be a Tony Bennett fan; hopefully he’ll be whiling away Lazy Afternoons now.
It’s that time of year when many of us forget about music and our thoughts turn to the birds and bees. Luckily, I am long past all that, despite medicinal intervention, so I can still spend time thinking about tunes and wondering how it is that I can be in Thaxted, in the wilds of North Essex, and yet still find a copy of a near-to-Mint original Sly Stone album on a bank holiday market stall. Indeed, it’s a puzzle. Anyway, at least one of the acts in this paragraph features in the next issue of Record Collector, which hits the shops in a fortnight. I won’t tell you which one, but the name ends in Head. And who doesn’t like anything that ends in head? I dare you to click: would I try to get you into trouble? This weekend I won’t be in North Essex at all, but I’ll give a quick mention for an event due south that I always enjoy: the Coach & Horses Blues Jam in Leyton, East London, which is celebrating its 10th Anniversary with special guests this Sunday from 3-7pm. This place knows how to party – in a bluesy, growlin’, whiskey-soaked way, and I commend it to you. And don’t forget the Miles Davis Night, also this Sunday in Carmarthenshire, as flagged up here last week. See below.
Also coming up in the next issue of RC: a piece explaining what the hell is going on with Dylan’s catalogue in the era of public domain chaos; an interview with two folk icons who remember The Zimm as just a skinny-legged wannabe; the Laura Marling records that collectors should be looking out for; space-rock pioneers Nektar; the fascinating and cautionary tale of the Criminal Damage label… and much more, which I’ll reveal next week.
Hope you have a great week, thank you for reading this – and Record Collector.
Ian McCann, Editor Record Collector
Five months ago the brewery, best known for its 'Old Tom' strong ale, couldn't believe its luck when it was approached by the British heavy metal veterans to collaborate on a new tipple.
'Trooper', an Iron-Maiden designed real ale, will not launch until next month but already 300,000 pints have been pre-ordered by avid fans around the world and retailers from more than 100 countries have applied to stock it.
"For the first time in our history we’re brewing three times a day and six days a week," said David Bremner, marketing director at 175-year-old brewer Robinsons. That's more than double the normal two batches a day, four days a week brewing schedule.
The top-secret project was revealed to fans in March through a post on Iron Maiden's Facebook page and within three hours Trooper became the third most followed beer on Facebook with 22,000 fans. It now has more than 42,000 'likes' on the social networking site.
"I’ve never known anything like it for a band's following globally," said Mr Bremner, who added that Robinsons has spent nothing on marketing the beer.
Read the full article at The Telegraph
For Now That’s What I Call Music compilations have begun to fetch “extraordinary prices” at sale, beating the likes of Duran Duran and Madness as collectors flock to own them.
Record Collector magazine, which is better known for compiling lists of rare records, found mainstream pop acts are now beginning to make hundreds of pounds.
A CD version of Now 4, released in 1984, is now valued at £200, partly in recognition of the novelty value of the medium at the time.
It easily eclipses prices raised by a limited edition Blur album from the height of their fame at £70, and Madness’ Baggy Trousers at £75 and a rare 12-inch version of Duran Duran’s Lay Lady Lay/Ordinary World/White Lines at £150.
A seven-inch copy of Abba's Voulez Vous/Angel Eyes dating from 1979 on red or yellow vinyl may go for £400, the magazine found.
Now 35, released in 1997, can command £80. At the time of its release, few people were buying vinyl copies and it is now scarce.
The magazine said the results formed "a list of records worth reasonable money that might just be owned by people who have bought only chart or best-selling records in the last 30 years".
Read the full article at The Telegraph here.
991.com brings you excerpts from this weeks R.C. Weekly Newsletter. To receive the full unedited version please contact david.harvey@metropolis.co.uk and mention 991.
******
Lots of discussions in the office about why there’s something faintly embarrassing about seeing the uh, more mature musician acting like he’s still a kid full of vim (not the cleaning product, that’s Jumping Jack Flash). I am racking what’s left of my brains to remember how I felt when I was young and saw old rockers. Did I believe that people who reached 30, or even 21, had no right to rock? I suspect it was a conceit injected into the culture by punk, but that may not be the case. Many people enjoyed Bill Haley’s UK tours in 1969, ’72 and ’74, and by all accounts those shows were almost as exciting as in the mid-50s when Haley invented teenagers. Did people judge the 40-something Haley in 1969 and decide he was past it? I doubt it. Bear in mind that Bill was in his early 30s when he first kicked off trashing cinema seats in the name of fun. Haley never appeared to be anything other than what he was; an avuncular western swing singer updating Louis Jordan for a new era. Nobody expected him to be anything other than showbiz – it was the sound that was exciting, not his style. So while you might find the music slightly embarrassing and past-it, Haley wasn’t, because he never pretended to be a kid, no matter how much twirling of the double bass went on. To me that is the crucial thing: it’s only the musicians that imagine – or kid themselves that we imagine – they’re still young that are an embarrassment.
When did we start believing that mature folk weren’t entitled to rock? Few musicians dared consider the matter until punk forced them to; The Byrds may have sung as cynical a song about the process as you could imagine, but there’s no mention about what happens when your pants are tight from a beer gut rather than a strategically-placed enhancement sock. One of the few tunes to face the problem was this one; it’s whimsical but at least it was aware that rock’n’roll was getting on a bit. Of course, there is an argument that us old music lovers have earned the right to be as embarrassing as we like, and that if you can’t make the kids cringe with what they love to call “dad dancing”, you’re not doing your job. I figure that you should dance if you want to (yes, that link does lead where you expect; perhaps you’d rather not click), but maybe don’t do it on stage…
The new issue is going out to subscribers in the next day or so; it’s in the shops on the 25th. Lots of unlikely valuable records on the cover – plus a small gratuitous picture of this lady. Inside, The Hollies, Wire, Sandie Shaw, ZZ Top, TT Shakers, more San Francisco Psych and a fascinating story about the acts who laid the foundation for AC/DC. Plus all the usual strange bits and bobs. Record Collector: if I wasn’t working for it, I’d buy it.
Hope you have a great week
Ian McCann, Editor Record Collector
|
IN
THE CURRENT ISSUE
|
 |
|
Led
Zeppelin's Houses Of The
Holy at 40, Alvin Lee's last interview The life and times of the UK Subs Legendary British record producer Tony Hall talks about his incredible career West Coast Psych rarities & collectables Simon Dupree & The Big Sound and Gentle Giant We pay tribute to Bert Jansch Plus Billy Bragg, Stephen Stills, British Sea Power, Anthrax…plus much more |
What a fabulous day we've all had here at 991.com! Not only has it been Record Store Day for Vinyl Nuts everywhere, but we've just closed our doors on our first every Buying Day.
A big thank you to everyone on the Team for making it happen.
Here's to the next One ... watch this space for the date!
991.com brings you excerpts from this weeks R.C. Weekly Newsletter. If you want to receive the full unedited version every week, please contact david.harvey@metropolis.co.uk and mention 991.
*****
The first thing I ought to say is, she was like a mother to me. A mother who took away my milk, battered the kids who dared to enter my bedroom, beat me with her handbag, made me call her ma’am, and kicked the dirt back down any holes I industriously dug in the garden… but yes, she was like a mother, loved but feared. That’s because she was my mother. Who did you think I was talking about?
I won’t tell you my opinion about Baroness Thatcher, because it’s already bad enough that you have to read my twisted views about music, never mind politics. But when anyone important passes away, it’s easy to find yourself wondering about what you were like back then and the choices you made. At the time that Mrs Thatcher was elected in 1979, I was finding it increasingly hard to find current pop music to match the power of the black music I was consuming, and which was consuming me. I remember one Saturday in particular in 1981 when I went to Small Wonder records, Walthamstow. It was the kind of shop which stocked everything worthwhile on a weekly basis, but I struggled to find anything on that visit. Simply wanting to buy a new record, I picked this single by The Passions, took it home, played it, and felt I’d wasted my cash. (These days it sounds cute and retro to me, but it would.) From that point on I bought nothing but black music until the rise of Madchester (amused by that video: the models look like they’d never choose to dance to it). Clearly there was great pop made in that in-between period, but I had no time or money for it.
On a personal level, the 80s were mixed; I had nowhere to live for a while (I’d like to think that some RC readers own some of the albums I lost at the time, because I hope they’ve gone to a good home). Gimme Shelter. On the plus side, I met my wife and became a music writer. Taking James Brown’s How Long Darling EP into a unisex hairdresser and asking to have my hair permed into the same shape as the photo on the back at the start of the 80s was not something I’d do today, although I was delighted with the result, and before the decade was out, Mr Brown had signed the EP for me when I interviewed him at the Hammersmith Odeon. I always dropped money into the miners’ collection buckets at Kings Cross when I was on my way home from the steel stockholders where I worked, and I played at a couple of miners’ benefit gigs, including one with this bloke on the bill. I think I had a good 80s… in spite of Mrs Thatcher, not because of her.
We’re in the wrestling contest which is the last couple of weeks of production for the new issue of the magazine, although it’ll be worthwhile, with a fantastic piece about The Hollies’ rarities; a terrific Digging For Gold story about Vanda & Young, the precursors of AC/DC; plus ZZ Top and Sandie Shaw. Tell you more next week.
While I think of it, Last Shop Standing, the excellent film about record retailers, has a special edition coming out on DVD for Record Store Day that boasts 74 minutes of new material, plus there’s a special screening at the Curzon cinema in Soho, London, on 18 April, an event which will include a Q&A with a panel that features Jason Draper, Record Collector’s rhythmically admired reviews editor. Should be a great do.
Another event that has tickled my fancy big time is a David Bowie listening evening, with his records played on the kind of hi-fi system most of us can only dream about. It’s on 25 April at Llwyn Helyg Country House, Carmarthenshire, SA32 8JH – booking is essential, go to http://www.llwynhelygcountryhouse.co.uk/music/ for more details.
Is that enough for now? Waay too much, I hear you yell. Have a good week,
Best wishes
Ian McCann, Editor Record Collector
|
IN
THE CURRENT ISSUE
|
 |
|
Led
Zeppelin's Houses Of The
Holy at 40, Alvin Lee's last interview The life and times of the UK Subs Legendary British record producer Tony Hall talks about his incredible career West Coast Psych rarities & collectables Simon Dupree & The Big Sound and Gentle Giant We pay tribute to Bert Jansch Plus Billy Bragg, Stephen Stills, British Sea Power, Anthrax…plus much more |
The UK overtook Germany as the world's third largest music market last year, according to the yearbook from trade association IFPI. The USA and Japan remain the largest two music nations.
Revenues from music recordings were about the same as last year - $16.4bn - but a slow shift from physical (down 5 per cent) to legit internet downloads (up 8 per cent) and performance rights (up 9.4 per cent) continues. Revenue from downloads has risen from 22 per cent in 2008 to 35 per cent today; physical revenue over the same period has fallen from 74 per cent to 57 per cent.
The European recorded music market is now worth €4.1bn - down from €7.1bn peak between 1998 and 2002. Licensed download services were slow to launch in some markets such as Spain, which saw an 80 per cent decline in revenue and thousands of job losses.
"The music industry simply grew complacent while Spaniards consolidated a freebie music culture,"noted Billboard mag. Even Germany saw a fall of 4.6 per cent - and more than half of Germans only ever buy their music in physical stores.*
Vinyl sales are recovering back to 1990s levels.
Twenty million people pay for music streaming - up from 8m two years ago - and it's now 13 per cent of all music recordings' revenue. Vinyl revenue continued to grow, by 52 per cent. Although it only adds up to $171m worldwide - which barely buys you a couple of misfiring Chelsea strikers. It's a tiny niche.
There's no sign of download sales slowing down - a real fear some years ago. The UK saw 187.8m tracks downloaded and a 15 per cent rise in full album downloads to 30.5m. IFPI points to Sweden, the most mature streaming market in the world thanks to Spotify, where per capita revenue from recorded music has risen again for the third year running, almost up to 2005 levels.
Adele's 21, the best-selling album of 2012 even though it was released in 2011, was issued by UK independent label XL, part of the Beggars Group. But there's no other indie label in the Top 50 bestsellers of 2012 - a sign of consolidation in a year that saw four major labels become three. ®
You don’t need to spend your spare time picking through the vinyl at a hipster shop in Shoreditch to be appalled at the news that Coldplay topped Radio 2’s list of the 100 greatest albums ever. I am hardly a keeper of the sacred flame of British popular music (my ownership of Sting’s The Dream of the Blue Turtles precludes that), but even I was aghast to see that Rush of Blood to the Head was deemed greater than anything by the Stones or Beatles.
For decades British rock lovers could rest safe in the knowledge that Sgt Pepper’s Lonely Hearts Club Band would head any pop poll, satisfying traditionalists and iconoclasts alike with its incontrovertible genius. This, after all, was an album that sent the tone for an entire decade, not just musically, but sartorially and socially, with its undercurrent of turning on, tuning in and dropping out. Coldplay’s subtext, by comparison, is more akin to the kind of muted woe you feel when John Lewis takes a week longer than expected to deliver a sofa. No wonder Creation records boss Alan McGee once dubbed it “bedwetters’ music”.
It was my painful duty to break the bad news about the poll to my husband; he worked on the NME in the Seventies and maintains a strict line on the issue of musical integrity. He wasn’t angry, so much as disappointed, like a headmaster who’s just been informed that Dickens has been knocked off the syllabus in favour of J K Rowling. It’s not that you dislike, or even disapprove of, Harry Potter or the nice-natured Chris Martin. However, neither of these cheerful, accomplished modern crowd-pleasers have much claim to actual greatness. The fact remains that they’re derivative rather than innovative and it’s the comfort of the familiar and not-too-challenging – artfully re-clad – that brings them huge audiences.
Read the full article by Rowan Pelling at The Telegraph here
It’s Easter Everywhere,
as Roky Erickson claimed, although there are vast numbers of the people
in the world of whom you could
ask Do they
know it’s Easter time at all?
(as Band
Aid never sang). For a lot of our readers, Easter means four days off and a
bit more time to absorb the new issue of Record Collector, in between
painting the roof, being outbid for your most-wanted album in the last second on
ebay, hosing down the soiled car in case the mother-in-law turns up and wants a
lift home, hosing down the mother-in-law in case she soils the car during her
lift home, etc. I’ll be creosoting the Chihuahua in the bath (and that’s not a
euphemism for something dodgy) and hoping the weather doesn’t warm up so I don’t
have to do the gardening and can get on with reacquainting myself with some
records that I have barely played since the early 90s (and, most likely,
realising why I haven’t played them). I’ll also be looking at my small but
perfectly formed Hollies
selection and comparing it with the excellent story on their collectables
that has come in for the next issue. There, I got through that entire paragraph
without a single pun about eggs, although I am about to mention an easter bunny… and as
that clip features the great Bob Hoskins, perhaps I should get a bit more
serious and include this.
So if your favourite musician wasn’t busy deafening himself or herself, what would he/she/it be doing? Perhaps writing a book, as Bill Wyman has just done. But one clever artist has taken it a bit further and is wondering what some great (and not so great) albums would look like if they had actually been readable possible fraud attempt "dmtrk.net" as http://ceegworld.com/the-record-books/. Particularly like Kraftwerk’s The Man Machine and Jimi’s Are You Experienced? covers.
The new issue of RC is in the shops as of today. Details below, although that doesn’t tell you who was always ill on planes, about our Bauhaus competition, the mystery surrounding The Drifters’ second UK 45, about Iggy singing Betty Davis, our quick words with Lisa Loeb, Anthrax, Spock’s Beard, Black Rebel Motorcycle Club and Lifesigns, or how John Lennon was apparently living in Birmingham in the 1990s. Loads to read as always; hope you enjoy it.
Have a great Easter, should it be Easter where you are. Thank you for reading this, and Record Collector,
Best wishes
Ian McCann, Record Collector Editor
991.com brings you excerpts from the latest R.C. Weekly Newsletter. To sign up for the full unedited version, please email David Harvey - please mention 991!
****
RC is in a bluesy mood at the moment, although that ain’t necessarily a sad thing. This is because Ian Shirley has been preparing our next album release, which offers excellent and deeply rare music from the classic era of the British Blues Boom courtesy of the Backhouse James Blues Band. But it’s also because we like it. The nice thing about the blues is it can be about hard times but gives you a good time in the process. I mean, if I found out my missus had been enjoying a sneaky 99 with the ice cream man, I’d be mortified. But BB King still makes entertainment out of it: as http://www.youtube.com/watch?v=JoUOBqd2IFQ. Although, if I was BB (some hope), I’d ask myself how come I could never get my extra-long sausage in the freezer because it was always full up with tutti frutti, none of which had been ordered on the web from Ocado. (And don’t go telling me that they don’t ’ave Ocado delivering guacamole and the like on Beale Street, Memphis, because I bet they do.) But that’s the blues for you: times may be hard, but you still got a song out of it. Here’s a blues tune that keeps getting remixed – usually I’m a sucker for such things – and Whitesnake did an excellent version, but in this instance I am proud to say that I’m sticking with my original copy of the Dreamer album because Bobby Bland got the feel of this one just right.
Good news from our peculiar piscine pals at Fruits de Mer records: in a bid to get the economy kickstarted all on their own, they’re launching a new label, Strange Fish, dedicated to music inspired by Motorik, Krautrock, extra-long German sausage, etc. Double LPs, £15! I dunno how they do it. Another thing that’s exciting my pleasure centres is the series of singles released to celebrate the 10th anniversary of Light In The Attic, the super-classy oldies label. They’ve slapped some of their amazing antique tunes on one side of coloured vinyl 7”, then got some current artistes to cover them for the A-sides. Want to hear Iggy Pop singing Betty Davis? Now’s your chance. I’ve put three in our next Single Cream page; here’s one of them, a brilliant remake of Rodriguez. If it’s snowing where you are, save it for a sunny afternoon.
The new issue of Record Collector should be winging its way to the shops in time for next Thursday’s release date: subscribers get it sooner, and we’re also on iPad. Lots of fascinating stuff in this upcoming issue, even if you don’t like to admit that you actually like Led Zeppelin’s The Crunge; stunning San Francisco psych rarities; a Ben Folds rarity, more Bowie on TV, and I’m delighted to say we got a message from the legendary DJ Peter Young at Jazz FM to express his pleasure about hearing of our Tony Hall feature, and another from Neil Murray, who remembers Mr Hall’s Radio Luxembourg sign off: “That’s it and that’s all from yours sincerely Tony Hall.” Blimey, things were simpler then. Happy days…
Thank you for reading. Have a great week,
Sincerely,
Ian McCann, Editor Record Collector
|
IN
THE CURRENT ISSUE
|
 |
|
Black Sabbath
- we look at their heavy industrial origins in the Midlands' Satanic
mills
Caravan - hitching a ride with the Canterbury scenesters Status Quo - the low-down down on the Frantic Four's return, from the denimeers themselves Laibach - the art and industry of Slovenia's favourite noise-merchants Mod - in search of the lost Chords, Secret Affair, Purple Hearts and more Emitt Rhodes - the 70s singer-songwriter colossus Fleur De Lys - don't call us freak-beat! |
|
991.com brings you excerpts from the latest R.C. Weekly Newsletter. To sign up for the full unedited version, please email David Harvey - please mention 991! It’s that mad time of the month when the cat hides because it knows that when I get home I will yell at it or eat it – perhaps both. Mmm, fur tastes delicious when you’re tired. Only problem is, I don’t have a cat, so whose pet am I eating? Yes, it is press week, and life is suspended until the mag’s gone to the printers. But what an issue we’ve got lined up for you – Led Zeppelin’s most controversial album; goodbye to the great Alvin Lee; Bert Jansch, and that other band of 60s and 70s longhairs – UK Subs. (I’m not kidding; you ought to see the photos the amazing Charlie Harper has kindly put our way.) We have a piece about the developments in 60s and 70s pop told through the story of one band, and we meet the man who has discovered and developed so many legends that he probably couldn’t name them all. Plus we bring you a guide to rare San Francisco psych gems. Of course, all this is actually dependent on our getting it to the presses on time… otherwise I’ll draw it all out on some sheets of A4, photocopy and deliver them to you personally, just like I had to do with my legendary punk fanzine, Niffin’ Poo, back in the glory days of 2012. One of the nice things about being into music is the fact that almost everyone comes back sooner or later assuming you or they survive long enough. Of late we’ve had Bowie, Wire, and this lot, who sound more or less exactly as they did in their prime. (No reason why not, of course, since the technology OMD helped pop come to grips with has remained the way a lot of pop is still made, albeit with refinements.) For those of you with a lot more time to spare and who are into groove, I’d recommend this, which is a mixtape full of tracks that have provided the inspiration for an album by Medline that I’ve been enjoying. And while I’m roughly in that vein, here’s a mellow jazz tune that I’ve mentioned in a Richard Hawley single review in the next issue – it’s not the same, but the atmosphere is similarly haunting yet calm. One last mention:
really sorry to see that Clive Burr of Iron
Maiden and Samson has passed away after a long illness. I knew Clive before he
was famous. He was a great drummer even in his teens, and of all the aspiring
musicians I met back then, he seemed Thank you for reading this, and for supporting Record Collector.
Have
a great week,
|
|
|
IN
THE CURRENT ISSUE
|
 |
|
Black Sabbath
- we look at their heavy industrial origins in the Midlands' Satanic
mills
Caravan - hitching a ride with the Canterbury scenesters Status Quo - the low-down down on the Frantic Four's return, from the denimeers themselves Laibach - the art and industry of Slovenia's favourite noise-merchants Mod - in search of the lost Chords, Secret Affair, Purple Hearts and more Emitt Rhodes - the 70s singer-songwriter colossus Fleur De Lys - don't call us freak-beat! |
 |
I’ve been off sick for
a couple of days with food poisoning. I am told my grub was tampered with by
someone who wanted me for crimes against music, but I have it on good authority
that it was acherly a geezer what wanted to protect the English language, innit.
Well, as Elton John barked, I’m still standing. In my case, it must be
the Viagra (I’m flogging it on the internet and I lean on cases of 50 gross when
I’m actually, erm, upright). Anyway, forced idleness gave me time to catch up on
daytime television – oh joy – and note how many adverts feature vinyl. Rather a
lot. The most obvious is the McDonald’s one in which sulky teen and new stepdad
don’t get on, and among the many stages towards a defrosting of (near) relations
is the discovery of stepdad’s record stash. Naturally the kid doesn’t want to
play any of said 12”, supposedly out of sheer stubborn pride, and only a Big Mac
can finally sort it. (The same method hasn’t worked in the Middle East but
that’s not for want of trying.) Maybe the kid would have been happy with his
‘new uncle’ until he flicked through that plastic and realised he was a hoarder
of Japanese pressings of Burger, no, sorry, Candy Flip. Gawd
knows he’d have found worse music in the dank corners of my collection and it
would have taken more than a burger to sort it.
Another thing that struck me during the long parp night of the soul that was my tummy complaint was a possible faux pas on ITV’s trailers for their documentary about Laurie Cunningham. Cunningham, a legend at West Brom, a star at Real Madrid, and more prosaically, someone I remember seeing play for Leyton Orient, was a gifted winger who rarely made a faux pass and died terribly young in a car crash. The pioneering Cunningham deserves all the tributes he can get, and ITV, over some suitably funky 70s music, made it clear in their clip that he was the first black footballer to wear an England shirt. Hang on a moment though. That funky music; it was Pick Up The Pieces by the Average White Band unless my poorly senses are deceiving me. Perhaps someone considered putting a Philly vocal trio on the ad because, along with Cyrille Regis and Brendon Batson, Cunningham was a member of what his manager called The Three Degrees. But that may have been a sensitive issue, because the gaffer in question was Ron Atkinson, of race row notoriety. Anyway, I enjoy a lot of AWB but I’d have thought the above average black band might have been a better choice in this instance…
Now I am back in the office, hence you’re reading these burblings. I’d like to say that I came in to a pile of delightful vinyl waiting on my desk but there wasn’t any. What there was, however, was a fabulous feature on Bert Jansch, and something superb about how Simon Dupree & His Big Sound became Gentle Giant and what this actually represented. They’ll be winging their way to you in the next issue, along with our usual blend of the obvious and obscure… talking of which, glad to receive so much positive response to our Emitt Rhodes feature in our current issue. Thank you. More out-of-the-way artistes’ stories are in the pipeline… stay tuned.
Hope you have a good – and healthy – week.
Best
Ian McCann, Editor Record Collector
|
IN
THE CURRENT ISSUE
|
 |
|
Black Sabbath
- we look at their heavy industrial origins in the Midlands' Satanic
mills
Caravan - hitching a ride with the Canterbury scenesters Status Quo - the low-down down on the Frantic Four's return, from the denimeers themselves Laibach - the art and industry of Slovenia's favourite noise-merchants Mod - in search of the lost Chords, Secret Affair, Purple Hearts and more Emitt Rhodes - the 70s singer-songwriter colossus Fleur De Lys - don't call us freak-beat! |
Recent Comments