Despite last weekend’s RSD profligacy, I visited several Ashford chazzas after dropping Asbo elder off at the train station this morning and was rewarded with this tasty dubbed up twelve from former Black Uhuru lynchpin Michael Rose and ubiquitous producers Sly & Robbie on their TAXI imprint for one quid at Oxfam. More X-Terminator than Trojan, but well worth it, as I would tell you.
Now this is starting to get a bit spooky. No sooner do I purchase Keith LeBlanc’s EDM agitprop, cut-up 12″ of Malcolm X bon mots yesterday for 50p (EX+) at Cats’ Protection in Hythe than the incendiary Civil Rights leader is assassinated, fifty years ago.
The Autobiography of Malcolm X was a firm favorite of my youth, the man was an inspiration (a kind of Rolling Stones to MLK’s Beatles, to be eye-rollingly glib about it) and seemed on the verge of even greater understanding when he was killed, making his loss all the more tragic.
‘No Sell Out’ stands up surprisingly well, yes it’s v. 80s, but it still sounds pretty rich; and, of course, X’s rhetoric is just as thrilling as ever.
After last year’s harsh dismissal (and subsequent retrenchment), I allowed myself to go whole hog for RSD 2015 and properly stand in the queue to buy retail product on the morning, viz. Jazzman’s 10″ 40s blues comp Party After Hours; the modernist jazz of Soho Scene ’62; the posthumous “Ghost Town” 7″ by kode9 and the spaceape; and finally, the complete ORK singles box set of early punk/new wave on Numero Group.
A good deal of the rationale for getting on board has to do with the fact that, unlike previous years, a record store exists in Folkestone, (Vintage & Vinyl*) 15 mins. away, run by friends from my village, who ordered the above for me; fortunately, I was early enough for them not to have been sold. The only disappointment was the unavailability in the UK of the RSD re-ish of the Family Way OST album by ex-Fab J.P. McCartney
How much did I blow? Let’s just say, if ever there was a time to re-name this blog Spendthrifty Vinyl, now would be it.
*In fact, there are now two record shops in Folkestone. The other one, with a truly excellent selection of alternativa, Hot Salvation, is just up the road from V&V.
I might not have picked this 8-Lp World Records box set were it not for the persuasiveness of the guy at the chaz selling said item. I know he knows what he’s talking about (and there was another record boffin there from whom I’ve purchased several items at boot fairs discussed in these pages), so when he reckoned these were excellent pressings (and the other chap confirmed its relative rarity), I was sold. Not that I needed that much selling, but £6 for 8 discs (how’s 75p per album for thrifty vinyl!) is not so bad.
I’ve only listened to the first two records and I can confirm that not only do they sound great, but are really well programmed.While this track listing on the inside of the box makes it look like a seven record set, there is a ‘bonus’ album included entitled The New Sound of Motown featuring Rick James, et al.Normally World Records has classier graphics than those on display here. Perhaps the monumental nature of the task was simply overwhelming for the WR art department and they went for a fairly crass K-Tel look.In case there was any doubt as to the quality of the product…
Here’ s a turn up. Reggae singer John Holt died several months before I purchased this JA press Lp of his last Sunday at the Hythe Cricket Ground boot fair. I’m not a huge fan of his, all that crossover nonsense, with strings and that, set my teeth on edge, but I had hopes for this one given its ‘Down Yard’ provenance.
I have to say I prefer my reggae a little more doctrinaire (i.e. less Lover’s) and less obviously tuneful (i.e. more ‘groove’ based) than this rather old-fashioned (for 1977) album; nonetheless, it’s a good listen and of surprisingly high-fidelity for a record of physical Jamaican origin.
The Haynes Boys were always open about their many influences: Dylan, Stones, Beatles are easy to spot; the Beetkeepers, Doc Watson, the Clash were obvious, if you knew the band. And so on. But what of the bands they, in turn, influenced? Who did the HBs impact in the way that, say, fIREHOSE and Big Star helped shape the Boys’ sound?
On the eve of the 20th Anniversary Re-Vinyl Records re-issue of the Haynes Boys’ debut, Thrifty Vinyl spoke to bassist Aaron Rice about the enduring legacy of his old band. Rice is something of an armchair music critic and reckons he’s spotted a few ways in which the Columbus roots rockers have infiltrated musical culture over the last 20 years. We think you just might be astonished, given that the group shifted so few units in their day, just how far beyond central Ohio the band’s reach extends.
D’Angelo – Voodoo “His first record came out around the same time as ours and I think it freaked him out a bit. It was a Brian Wilson/Beatles competition thing. He was like, ‘I’m going to need some time to respond to that!’ In the end it took him like 7 years. He was still waiting for the other shoe to drop (i.e. a second Haynes Boys Lp) when he blinked and released Black Messiah.”
Etienne De Crecy – Super Discount “There’s a funny story here: When we were on tour in the UK and took a long weekend off to celebrate le quatorze juillet in France, there was this guy constantly following us around. I though he was looking to swipe Freddie’s wallet; turns out it was Etienne De Crecy and, inspired by our busking, he comes out with Super Discount a couple of years later.”
kode9 + the spaceape – Memories of the Future “If you really listen to the lyrics on Haynes Boys, they are, like, totally full of dread. [Hyperdub boss and kode9 alter-ego Steve] Goodman’s gone on record saying he copped Tim’s lyrical approach and insisted Sam [Gordon, aka the spaceape] follow it.”
Rhythm & Sound – w/ the artists “Again, kind of an obvious pick. The atmospheric production is an overt homage to (or blatant rip-off of – ha, ha!) Haynes Boys, and Moritz [Von Oswald, R&S producer and head of Burial Mix] has said so repeatedly in interview. I have a lot more respect for people when they give credit where it’s due.”
Syd Arthur – On an On “A genre blend of folk and progressive music that would’ve been unthinkable without the Haynes Boys, simple as. And as for the fact that they grew up in Canterbury [just 12 miles from where Rice now lives] well, I leave you to draw you own conclusions.”
Various Artists – Dubstep Allstars Vol.02 “Kind of a Zelig moment here. First of all, I’d begun de-tuning the low E on my bass to D, giving that subsonic ‘wooombbb’ so characteristic of dubstep, which DMZ, Digital Mistikz, etc. etc. were obviously paying attention to. Add to that my musical partnership with Bristol dubstep champion Gutterbreakz and the story writes itself basically.”
N.E.R.D. – …In Search Of “The Neptunes repayed a self-evident debt here with the production techniques we pioneered, no doubt about it! Just don’t blame us for ‘Happy’!”
Daft Punk – Discovery “If there’s one thing the Haynes Boys celebrated, it was unashamed pop music; and it a way, I think we made it ‘acceptable’ for ‘cool’ people to say, ‘Yeah, I like pop music, you know, sue me!’ Daft Punk took that message from us and ran with it.”
Various Artists – Soundbombing II “Another credit to the songwriter [Easton] for this one. Inspired by Tim’s storytelling style, the Rawkus crew co-opt the vibe and create one of the best hip hop compilations going.”
“I suppose it’s no accident that the above albums represent some of my favorite music from the past two decades, given the hand that my friends and I in the Haynes Boys had in its creation. Ultimately, I’m just thrilled and humbled that, in the words of Keith Richards, ‘we passed it on’.”