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Thread: November 2015 finds

  1. #1
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    Default November 2015 finds

    Taking liberties a bit here seeing as I haven't found any of these in November This rare finds post from me wraps up some of the arrivals from the last few months.

    My hi-fi gear's at the doctor's having been out of action since August. I've therefore not yet listened to these beyond some curiousity-driven Youtubing.



    Jean Leccia's a spare. Jorge Ben (also a spare) and Steve Halpern from a french car boot. Naughty by Nature has the Pete Rock Hip Hop Hooray remix. Bottom left is the Magnetic Mind LP, which you can hear here: https://heavysoulrecords.bandcamp.co...ut-it-vinyl-lp



    Soulful Strings and Coryell were french flea market finds. I'd been after the Liferaft for a couple of years. Amerie flips Tom Ze brilliantly.



    New Quantic was a gift from a good friend.

    Top middle contains this:
    https://www.youtube.com/watch?v=Gdees58_4po

    The 12" in the middle is Christian Prommer's Drum Lesson:
    https://www.youtube.com/watch?v=ZA-0PF84VnQ

    Bottom middle is the pink vinyl version of Paul Orwell's LP.



    Eek-A-Mouse from Amidar (many thanks amigo!). The Hopeton Lewis (reish) has this classic: https://www.youtube.com/watch?v=26aUmDvDROE

    The 45 is a repress of Ernest Wilson's Undying Love: https://www.youtube.com/watch?v=VsI1Za-VnuM

    The middle 12" is an average version of 'One Bourbon, One Scotch, One Beer'

    Picking up the repaired/serviced hi-fi bits on Tuesday. Can't wait!

    WF

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    WF: bottom row, middle!! Sexy Lady! Se-xy Lady! Sexy Lady, Sexy Lady, Sexy Lady, You Are My Perfect Woman! Good fun boogie 12"
    Spirit Duplicator—collectable, charming, affordable... and also socially networked on FB / Twitter / Instagram.

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    Lovely selection there. The Mandell LP is a cracker, and that Amerie 12 is a great tune, you've reminded me I need to get a copy also.

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    Great haul there Fogg. There's a lesser spotted Halpern. Lovely New age synth stuff
    Rock on Penderyn

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    As ever, trying in vain to match the pace of reporting finds (from charity shops and a trip to Mr Sifter's in this case) to the rate of actually finding them. It's November and Halloween's out of the way. Great, because whatever anyone else thinks, I have never personally found 'good versus evil' to be a particularly useful basis for discussing anything, and I'm not in any way fascinated by zombies or impressed by people dressed as horror surgeons, so instead, let's talk about this;



    Black Sabbath - 'Black Sabbath's Greatest Hits' - I've heard a bit of love for the Sabbath on the board recently and it reminded me that my own way into the Sabs was via their compilation 'We Sold Our Souls For Rock'n'Roll' circa 1975 when a schoolmate bought it - whenever his folks went out to the Miner's Welfare of an evening, it would be on the stereo and wound up as loud as we dared. I own the CD, but perhaps a little shamefully no proper Sabbath albums on vinyl - and I still don't as this was all Mr Sifter had on offer the day I set out to amend this.

    Nonetheless, I'm enjoying it, because despite my above protestations about 'good vs. evil', all the satanic baggage implied in a name like 'Black Sabbath' never gets in the way of what is just essentially a superb power trio fronted by a friendly loon who's voicing his anger at the world's injustices in the only way he knows how. The result is a sincere and instinctive, if somewhat naive, brand of political (small 'p') rock. That's how it sounded to me aged 14 and that's how it sounds now. It's appropriate that this album sleeve is a Breugel painting and not pentagrams or inverted crosses or any of that malarkey - Black Sabbath were rabble rousers, not devil worshippers, and I've never heard any band since that makes quite the same noise...so, what's their best album proper then?



    Nancy Sinatra - 'How Does That Grab You Darling?' - Of course, it's just the retread of 'These Boots', but a bit cheekier and there's 'I Move Around', another Hazlewood winner on the flip.
    Chet Atkins - 'Boo Boo Stick Beat' +'From Nashville With Love' - 'Boo Boo Stick Beat' from 1959 sees Chet in some very early wah-wah pedal action and has an addictive percussive pattern that has already seen me play it out once or twice, the second single from 1966 is somewhat less innovative but OK...





    Deep Purple - 'The Best Of Deep Purple' - ...which isn't of course the best of Deep Purple to anyone who's into Deep Purple, but since I don't include myself in that category, I thought I'd give it a go. Frankly, I always wondered why the Purps were ever as popular as they were - I always considered their music fairly leaden and pompous, and have always reserved a particular hatred of 'Child In Time' (Room 101 material) and the embarrassingly trite 'Smoke On The Water'. Since I couldn't actually remember ever hearing any of their Simper/Evans period stuff (hideously repackaged on this Scepter 'Citation' collection) I wondered if it contained any vestiges of the better stuff members were involved in pre-Purple. It's not as terrible as I thought it might be, 'Love Help Me' is a decent heavy pop song for example, but it seems, as with their later stuff, whenever Jon Lord and his unspeakably horrible organ get too involved in proceedings, the pomposimeter goes into the red and my interest wanes. If they'd split after two albums they might have been remembered as a sort of British Vanilla Fudge, which would have been better for all involved I reckon...





    Cockney Rebel - 'Judy Teen' - EMI went a bit mad with niche marketing in the 70s didn't they? It wasn't necessarily that their bands were 'overproduced' (although they often were), but all of their product was just a bit too clinical, everyone from Mr Big to Pilot to Queen to Kate Bush hothoused in the EMI finishing school and designed cynically to occupy a certain space in relation to the competition and each other - it's the sort of insipid approach that somehow survived to the era of Radiohead, Coldplay and Keane and it shoots spontaneity stone dead on sight. A pity, since Steve Harley wrote some good songs, this being one of them, but even now there's an EMI focus group in my head reading formulae from a tickertape printout; '10% Sparks, 15% Roxy Music, 5% Mott The Hoople, 5% Rod Stewart...'

    Chris Spedding - 'New Girl In The Neighbourhood' - Chris Spedding's 70's singles are always generally a safe punt and I know this one has blogger following legs, but it isn't really hitting the spot for me - a messy and uninspired welding together of Showaddywaddy and the Batman theme - what were they thinking?

    ...speaking of which....



    Alvin Stardust - 'Growin' Up' - The simple rules of hitmaking - right singer, right song, right producer. So what went wrong here? I've used a stock photo as I edited my own into oblivion - but trust me, my copy's been nibbled by mice at some point. I don't want to hate on Bruce Springsteen, I sort of respect him, but his earlier overblown melodramas aren't really my cup of tea- I suppose, by 1977, the hits were drying up a bit both for Alvin and JK and this was a brave/desperate (delete as applicable) attempt to rehone their pop edge- in fairness, it's not a bad attempt at all really, with Alvin hamming up his US accent and handling the lyrical intricacies quite well - it's certainly better than Bowie's attempt - a strange episode all round...




    Back with more soon....
    Last edited by giantchicken; 01-11-2015 at 11:43 PM. Reason: unctuation and pspelling...
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    Dug out during a 3 minute flying attack on a charity shop in Bridlington:



    Penderecki - St Luke's Passion. Powerful, eerie, wild, choral music. I have had this as a box set version for nearly 25 years, dug out of the record shop that used to be in the covered market in Oxford. Possibly the first avant garde composer record I ever bought. But this has a slightly narrower spine, so this copy is going to get the nod.
    Al Caiola - Solid Gold Guitar. Twangtastic guitar instros.
    Original Cast - Flowers For Algernon. I have stopped buying musical soundtracks because I never like them. I couldn't resist dropping 25p on this, though, a musical version of the science fiction classic story of a man with an IQ of 63 who briefly becomes a genius. And his pet mouse. With Michael Crawford in the lead role. I don't think I can bear to actually play it, mind you.
    Starbuck - Moonlight Feels Right. Rather delightful 70s cheese rock.

    Back home, the charity shops were also aligned with the stars:



    Two volumes of top-notch Roulette fare on Major Minor BUDGET compilations. Some of my favourite music right here, The Cleftones, The Harptones, The Flamingoes... lovely.
    The Merseybeats - S/T. Ace release on Wing, I didn't really know anything beyond Mr Moonlight, but this is solid rocking stuff.
    Johnny Burnette - Dreamin'. And more early rocking sounds, who can resist "Oh no, not clown shoes / They mean I'm in for some mighty bad news"

    Kicked up a few elsewhere too:



    Winter Sunshine is a WRC (original?) Christmas jazz album, with a rather nice lineup. Bill Le Sage / Ronnie Ross / Tony Carr / Ray Dempsey / Spike Heatley. Vocalists are Mark Richardson & Frenesi Watson. Sounds nice!
    Edgar Broughton Band - Bandages. Late EBB I'm not familiar with, sounds like there are some nicely odd moments on first spin.
    D L Menard - The Back Door. Cajun sounds.
    The Watersons - Sound, Sound Your Instruments Of Joy. Lovely acapella sacred music sounds.

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    Quote Originally Posted by giantchicken View Post
    Cockney Rebel - 'Judy Teen' - EMI went a bit mad with niche marketing in the 70s didn't they? It wasn't necessarily that their bands were 'overproduced' (although they often were), but all of their product was just a bit too clinical, everyone from Mr Big to Pilot to Queen to Kate Bush hothoused in the EMI finishing school and designed cynically to occupy a certain space in relation to the competition and each other
    This is an interesting comment, I had always thought of Queen, Kate Bush and even Steve Harley to an extent as basically sui generis - each honing a unique style and approach. Are they really the product of a cynical 'finishing school' / production line approach? Tell me more, I'm interested to find out - who, where, how did they get squeezed out from the toothpaste factory?

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    Quote Originally Posted by Sonovox View Post
    This is an interesting comment, I had always thought of Queen, Kate Bush and even Steve Harley to an extent as basically sui generis - each honing a unique style and approach. Are they really the product of a cynical 'finishing school' / production line approach? Tell me more, I'm interested to find out - who, where, how did they get squeezed out from the toothpaste factory?
    I'm with you on this Sonovox. All originals in my book. Specifically on the subject of Cockney Rebel, Steve Harley has always been his own man hasn't he? Their first album - Human Menagerie - is a very unique album I think. I love it to bits and it would accompany me to a desert island.

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    GC, re Black Sabbath lps, if you like that kind of thing, the first four or five will probably be all you need. Personally I only need the 1st (occasionally it has to be said). All the rest were given away when....you almost couldn't even "give them away".

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    Quote Originally Posted by Sonovox View Post
    This is an interesting comment, I had always thought of Queen, Kate Bush and even Steve Harley to an extent as basically sui generis - each honing a unique style and approach. Are they really the product of a cynical 'finishing school' / production line approach? Tell me more, I'm interested to find out - who, where, how did they get squeezed out from the toothpaste factory?
    Quote Originally Posted by candiman View Post
    I'm with you on this Sonovox. All originals in my book. Specifically on the subject of Cockney Rebel, Steve Harley has always been his own man hasn't he? Their first album - Human Menagerie - is a very unique album I think. I love it to bits and it would accompany me to a desert island.
    Blimey, I wasn't expecting the Spanish inquisition....I'm not having a go at any of these artists, I like them myself - yes, there were distinctions between them musically but I suppose I still might question your 'sui generis' definition Sonovox - these were a core of artists that were signed to EMI in the mid 70's that to my mind were something of a genre in themselves. Typically middle class, well-educated, well funded, well connected and indulged by their record company and management to an extent that could only have been possible at the high watermark of the record industry. I used the terms 'hothoused' and 'finishing school' ('production line' was yours) to try to convey that impression, not entirely successfully it seems.

    This phenomena was not all EMI's own work, but they were often savvy enough to position themselves to be the beneficiaries of the investments of others. Queen's first management company Trident bankrolled the unlimited studio time that the band were allowed at the then state of the art De Lane Lea Studios to hone their sound and Trident might have received more of the payback had EMI's crack legal team not extricated the band from the rather poor management deal they had signed, leaving band behoven to label and no doubt recouping their expenses (and then some) in the process.

    At the height of the record industry, a company like EMI had seen the benefits of playing the long game (see The Beatles, Pink Floyd etc..) and I would argue that there is no better example of this than the career of Kate Bush. Having Dave Gilmour record and play on your demos and then hawk them around to the highest of the high was not, I suspect, the typical experience of young teenagers attempting to pursue a career in the music business at that time. See also funding and time off to study mime and dance with Lindsay Kemp for a couple of years, 'heavy people' reading you Gurdjieff and Jesu, as many former members of Pilot and Cockney Rebel and as much time as you like while spending your vast album recording budget - and only the obligation to tour once every 36 years to weigh you down.

    Steve Harley, as you point out too Candiman, may have been something of an exception, but there's plenty of evidence to suggest that having given Cockney Rebel carte blanche on 'Human Menagerie', a rather dischuffed EMI leant very heavily on Harley to start producing some hits, 'Judy Teen' in fact being the first of them. Being the real Mr Big, EMI had the power to decide who would survive and who would be written off as a tax loss, and when the other Cockney Rebels demanded their own input to albums, the label quickly let them know where they stood - at the back of the studio playing along to Kate Bush...

    EMI - an unlimited supply of money, cynical manoeuvres, business hardballing, Olivia Neutron Bombs, dwarves with trays full of cocaine on their heads, Sex Pistols, etc etc....and would I have had it any other way? Hell no, I love the music industry!



    you can hear colours when they rhyme...

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    Quote Originally Posted by treeboy View Post
    GC, re Black Sabbath lps, if you like that kind of thing, the first four or five will probably be all you need. Personally I only need the 1st (occasionally it has to be said). All the rest were given away when....you almost couldn't even "give them away".
    Cheers Treeboy - that was pretty much the strategy I'd decided on - I've certainly no need for 'Gillan era' stuff or other aberrations - although is there a decent early live album, I wonder? I see myself as an occasional Sabbath user too but would like to explore beyond the obvious tracks a little - serves me right, should have bought them when you couldn't give them away - now I can't find them!
    you can hear colours when they rhyme...

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    Quote Originally Posted by giantchicken View Post
    Blimey, I wasn't expecting the Spanish inquisition....

    At the height of the record industry, a company like EMI had seen the benefits of playing the long game (see The Beatles, Pink Floyd etc..) and I would argue that there is no better example of this than the career of Kate Bush.


    Thanks for the interesting perspective. I believe there is a bit of a leap between what you are describing - a record label investing in 'long game' and/or investing in upcoming talent - and what I perceived you were saying in terms of the deliberate overseeing of the direction / style of these artists to ensure they were targeted at specific audience niches. The fact that Kate Bush blew her advance on mime lessons seems more illustrative of her, um, orthogonality than it is of cunning svengali machinations.

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    For what its worth, the Sabbath catalogue is rich and varied and doesn't end after the first four LPs, or first five, and can't be represented by just one LP, but it all depends on your perspective, of course, and your attitude towards heavy/hard rock. Some bands catalogue can be condensed down to just one or two LPs, but I'd suggest Sabbath don't fall into that category. And I'm not a fan of all of their records, by any means.

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    Isn't always the way, you go out not even looking for records and get your best finds, pulled a mono of this in excellent condition from a load of chuff in a chazza although I'll probably go back for the secret 'Masonic' gatefold souvenir thing I left behind (it looked mostly classical tunes anyway no secrets to be had). Discogs stock image used:

    Last edited by amidar; 03-11-2015 at 04:14 PM. Reason: Masons

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    Quote Originally Posted by Milesago View Post
    For what its worth, the Sabbath catalogue is rich and varied and doesn't end after the first four LPs, or first five, and can't be represented by just one LP, but it all depends on your perspective, of course, and your attitude towards heavy/hard rock. Some bands catalogue can be condensed down to just one or two LPs, but I'd suggest Sabbath don't fall into that category. And I'm not a fan of all of their records, by any means.
    I'm sure you are right, I was just referring to the Greatest Hits tracks, which, if memory serves me right are mostly culled from that period. I remember a friend bringing Technical Ecstasy round when it was released. Something had changed to my ears. And I have to hold my hands up and say I haven't really listened to anything post that lp, so, I'm probably not the best qualified to give a definitive answer to the question by a long shot. First five were essential when I was a teenager.

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    Its bonkers the amount of money and time that was thrown at artists in the 70's for studio time etc. I love all those mojo 'Classic Album' shows where they show you what went into the production of said album. I'm not a fan of it as such but the one on 'Bat out of Hell' (or was it a radio doc) was particularly interesting and made me appreciate the work that went into it.

    EDIT: Re: Queen having watched the making of 'A Night at the Opera' I'll confirm EMI must have given them an open bank account with a never ending supply of funds!
    Last edited by amidar; 04-11-2015 at 09:57 AM.

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    Quote Originally Posted by Sonovox View Post


    Thanks for the interesting perspective. I believe there is a bit of a leap between what you are describing - a record label investing in 'long game' and/or investing in upcoming talent - and what I perceived you were saying in terms of the deliberate overseeing of the direction / style of these artists to ensure they were targeted at specific audience niches. The fact that Kate Bush blew her advance on mime lessons seems more illustrative of her, um, orthogonality than it is of cunning svengali machinations.
    I don't see there's necessarily a contradiction between the two ideas - remember this was THE HEIGHT of the record industry and the stakes were very high indeed. EMI Records was but one small branch of a multinational that also made stereos, TVs, cookers and weapons systems, and we should view them in light of that.

    Certainly the acts they adopted long term (Queen, Kate Bush) had talent and ability, that's beyond dispute, and EMI indeed lavished money upon them, but it would be naive to think that they weren't watching every move their charges made - great deliberation preceded much of what occurred and little was spontaneous as I hinted in my original post. Queen's first tour supporting Mott The Hoople was carefully chosen to put them precisely in the spotlight of the thinking man's glam (EMI also harboured something of a fear of CBS UK and their growing influence) - and Freddie and the boys didn't just run into Zandra Rhodes down Kensington Market one afternoon either. And what was the first pop video of any note that anyone took notice of? I bet you can even remember how much it cost to make...

    The lyrics of Kate Bush's 'Them Heavy People' reveal something of her own transformation in the hands of the EMI sparkle machine; they wouldn't have just let her 'blow' her advance on tuition from Lindsay Kemp, they would have noted Kemp's influence on Bowie and his stagecraft and actively encouraged her to follow - they would have realised the all-important need then for artists to have 'credibility','depth' and something interesting to say in interviews - it's not too much of a stretch to imagine that someone in artist development might indeed have given her Gurdjieff to read. 'Them heavy people help me...' The long interval between Kate Bush signing to EMI and the issue of her first recordings was no accident. If she was ever 'orthogonal' I can only imagine it was while doing the splits in dance class....

    While not a 'hit factory' in the way we like to think of that idea, and without a single identifiable svengali, EMI would have employed a small army to ensure the success of their charges. The interesting thing is that this kind of labour intensive approach often meant they found themselves playing catch up in a rapidly moving music scene. Geordie were a late response to Slade, Pilot a poor man's 10cc and whether he realised it or not, Steve Harley & Cockney Rebel slotted very conveniently (if again, a little late) into that tricky Roxy/Mott/Bowie/Sparks arena - we still don't know what The Alan Parsons Project was a response to, but it must have been a very stupid question...

    Short term signings were equally an option - 'They love Queen - let's put Mr Big in as their support and see if they'll swallow that too!...no?...alright, get rid...'

    I recently watched a very revealing documentary about ABBA, or more to the point about the styling and establishment of a brand identity for ABBA shown on Channel 5 (yes!) that demonstrated clearly the kind of attention to detail given to these matters in the 70s - if you think I'm exaggerating any of this you should watch it - as I said - THE HEIGHT of the record industry...

    So yes, I think these artists were good, I enjoyed their records, I believe they had unique and individual talents - I also realise they were part of a multimillion dollar business that inevitably affected the way they were conceived, perceived and received and that they were styled, shaped and marketed by a legion of people - and I have no real qualms about any of this - this approach did 'shoot spontaneity stone dead on sight' but maybe that wasn't always a bad thing.

    Consider this - had Kate Bush signed to any other label than EMI at a time when, frankly, the prevailing view was that the 'sensitive female singer-songwriter' phenomenon had peaked and was a bit passe, would she now have greater stature than say, Jaki Whitren or Lindsey Duncan? I know what I think...
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    Quote Originally Posted by giantchicken View Post
    Cheers Treeboy - that was pretty much the strategy I'd decided on - I've certainly no need for 'Gillan era' stuff or other aberrations - although is there a decent early live album, I wonder? I see myself as an occasional Sabbath user too but would like to explore beyond the obvious tracks a little - serves me right, should have bought them when you couldn't give them away - now I can't find them!
    Sabotage.

    Really, Sabotage.

    Paranoid is obviously also good, but it's a bit too obvious.

    My top four would be:

    Sabotage
    Paranoid
    First S/T
    Masters of reality

    To me, these are their top albums. The rest (vol 4, sabbath bloody sabbath) is a bit less.

    Sabbath without Ozzy isn't really sabbath.

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    Quote Originally Posted by Mescal View Post
    Sabbath without Ozzy isn't really sabbath.
    Thanks for your recommendations Mescal - I shall keep them in mind. A bit too busy with other things right now (work, football, minor health issues, reassessing the machinations of EMI records in the mid-70s etc.) to be fully on the case, but it's on the list. Work did actually 'coincidentally' take me right to the door of Sifters Records again yesterday, but it seems I cleaned them out by buying the 'Greatest Hits'. I fully agree with your views on Ozzy though - no Ozzy = no Sabbath.
    you can hear colours when they rhyme...

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    I've recently reassessed 'Never Say Die' as I remembered liking the title track and its not as bad as its made out to be, bit of a mess though, although I like some of its proggyness despite its 80's heavy metal production despite being 79 I think. Funny how peoples Sabbs top 5's are different 'Sabbath Bloody Sabbath' is probably 2 or 3 for me. I first discovered them as my mother owned the first one and the cover used to creep me out no end as a kid that combined with the Op Art swirl got me interested later on in life.

    I'm like the chicken I've owned originals of all of them, renounced my love for them and got rid, no chance of getting originals now, do pick up a later press here and the last one was 'Sabotage' as it goes.

    I love this 'Bob Marley' anecdote re: Never Say Die here and Bill Wards dreads ha-ha:

    https://en.wikipedia.org/wiki/Never_...ops_appearance

    Quote Originally Posted by Mescal View Post
    Sabotage.

    Really, Sabotage.

    Paranoid is obviously also good, but it's a bit too obvious.

    My top four would be:

    Sabotage
    Paranoid
    First S/T
    Masters of reality

    To me, these are their top albums. The rest (vol 4, sabbath bloody sabbath) is a bit less.

    Sabbath without Ozzy isn't really sabbath.
    Last edited by amidar; 04-11-2015 at 09:59 AM. Reason: later on not later one!

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    Ros Bandt – Improvisations in Acoustic Chambers. NM/Ex+ (slight damage to spine). $30

    Bought this morning.

    As it says on the sleeve. Some with conventional instruments. All but one unprocessed. Three tracks involve a collaborator. Four if you include the track that features a passing dog (Side 2 track 5 – it is called “Dog”).

    The chambers in question were a water tank and a grain silo.

    All a bit moody and formless. Go for “Bamboo Flute” (Side 1 track 1) if you want a conventionally pretty lead in. “Dog” also has a more conventional feel. She used a bass recorder and slowed down the replay.

    The record is clearly a known quantity. Two people on discogs say that they have it. Fifty plus say that they want it. No sales on discogs.

    “Dog” might feature on an Xmas swap CD, if I can get my act together.
    Last edited by Funktionnaire; 06-11-2015 at 09:25 AM. Reason: Floydian slip - the title is "Dog"

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    Quote Originally Posted by giantchicken View Post
    we still don't know what The Alan Parsons Project was a response to, but it must have been a very stupid question...

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    What with a thread dedicated to him and now this I detect a distinct lack of Parsons love on this board.

    Wooaah there!





    Quote Originally Posted by SirSlim View Post

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    I have picked up a few nice things in the charity shops so far this week including this lovely old record box
    which the kind old lady behind the counter said "oh, you can have that as we were going to throw it out anyway"
    but when I told her it still had some records in it she said "well you can have it for a pound then" which was nice.








    The 78's inside turned out to be quite nice, some by the Folk Dance Band others by the Folk Dance Orchestra
    as well as several titled Music For Movement which are the 78rpm versions of the old schools records that were
    played in PE class to get kids up and dancing about. I have a few music for schools LP's and 7"s but these are
    by far the oldest examples I have come across.






    Also in the same shop were some 7"s which were wrapped in 1970's wallpaper sleeves!
    I was pleased with this one as it's a tourists disc issued by some Yugoslavian coach company,
    I so wanted it to be either Everyone Back To The Bus from an early TV memory of mine or the Italian Job Theme
    but it's actually this









    I was a bit perplexed by the vinyl filing system at the Age Concern warehouse,
    perhaps some records shouldn't be left quite so close to others.






    This old boy ought to know better too as he was 62 when this was released just before he died in 1963.






    Next to it was a soundtrack from 1967 by another fella with a dubious past.




    Thankfully in the same box was this LP by someone with an unblemished career, a 1980 record by Princess Grace.






    The Animal Sanctuary turned up a couple of Christian albums including one by The Genesis
    and an oddly titled album by these 5 lasses.







    Also in the same shop was an unplayed copy of a late 60's album by Johnny Nash


  25. #25
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    Sep 2009
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    Manchester
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    Thanks again to Amidar, Milesago, Mescal and Treeboy for their sage advice on which Sabbath album to buy - I'll see if I can get to an actual record shop that might have some this weekend and see if I can score a bargain, but failing that I've identified a number of new reissues online that would keep me within budget - luckily, I'm not fussed about first presses, Vertigo swirls or all that nonsense - the tunes alone will do for me - I'll keep you posted...
    you can hear colours when they rhyme...

  26. #26
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    Aug 2012
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    Probably a good move GC.

  27. #27
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    Jul 2014
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    Malmö
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    Quote Originally Posted by giantchicken View Post
    Thanks again to Amidar, Milesago, Mescal and Treeboy for their sage advice on which Sabbath album to buy - I'll see if I can get to an actual record shop that might have some this weekend and see if I can score a bargain, but failing that I've identified a number of new reissues online that would keep me within budget - luckily, I'm not fussed about first presses, Vertigo swirls or all that nonsense - the tunes alone will do for me - I'll keep you posted...
    It's rare to see Sabbath albums in the wild. They are pounced upon immediately unless they have an insane price tag. Not talking about reissues then.
    I only have Black Sabbath and Sabotage, and they serve me well. I'd like to get the others of the first 6, but not going out of my way.

    It's been fairly quiet the last couple of weeks with the car boot season winding down. Maybe this was the final good car boot find of the year:


    Travolta Kids - Det känns okej
    After starting out in the KBD punk style, they turned more towards powerpop in 1979. I think this 7" is one of the better efforts in Swedish punkpowerpop.

    My lunchtime dig usually supplies a few interesting finds, this was one ogf the better ones:



    Midsommar
    Better known for debut Belsebub är lös, this proggy outfit for some reason released their followup on budget label Moondisc, whose main output was knock-off hits compilations. As a result the sleeve is printed on thin cheap cardboard, all copies I've seen have been seriously ringworn, and damaged by multiple overlapping sale price-sticker seals (19:95 SEK > 14:95 SEK > 9:95 SEK). This one was almost OK. The record is a bit of a letdown, lyrics are mostly awkward and the songs and playing not up to scratch. I have to admit that this went onto discogs fairly quick (and off).
    Family is new to me, I can see some people having problem with Roger Chapman's vocals, but I like it. Will seek out more.
    Udo & Francoise is of course Jürgens and Hardy. No collaboration, just seems to be some random compilation of 1967-68 material, with Hardy doing two songs in German.
    ------------------------------------------------------
    "This is Modpowerpopsouljunkierock´n´roll so stop post shit like Jethro Tull, Pink Floyd, Grace Jones , Led Zeppelin and some other boring blues stuff, that kind of music don´t belong in this group, if I´ll ever see shit like that posted in this group again that person will be banned from this group forever!!!!"

  28. #28
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    Jan 2007
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    Quote Originally Posted by cratedigger View Post
    Family is new to me, I can see some people having problem with Roger Chapman's vocals, but I like it. Will seek out more.
    I know what you mean about Roger Chapman's vocals, but I like them too. Music in a Doll's House is a fantastic record if you come across it. It can be had reasonably cheap with patience.
    ...if in doubt consult your dealer.

  29. #29
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    Oct 2013
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    Quote Originally Posted by giantchicken View Post
    Thanks again to Amidar, Milesago, Mescal and Treeboy for their sage advice on which Sabbath album to buy - I'll see if I can get to an actual record shop that might have some this weekend and see if I can score a bargain, but failing that I've identified a number of new reissues online that would keep me within budget - luckily, I'm not fussed about first presses, Vertigo swirls or all that nonsense - the tunes alone will do for me - I'll keep you posted...
    Think I have doubles of sabbath bloody sabbath, never played it and until I get home unsure of condition
    Send me a pm if you wanna trade it and I'll have a look when I get home

  30. #30
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    Quote Originally Posted by BlackRegent View Post
    I know what you mean about Roger Chapman's vocals, but I like them too. Music in a Doll's House is a fantastic record if you come across it. It can be had reasonably cheap with patience.
    Amen to that. Fantastic lp. Don't get me going on the 1st single Love the early Family stuff. I knew a chap who used to go to see bands in London in the late 60s and he saw "everyone". He maintains that Family were the best live act he ever saw, and I think he saw them quite a lot too. Lucky fella

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