Haynes Boys – ‘Maryhaven Family’ b/w ‘Out of This World’ (WR002) (1994)

SAM_0700Ultra-rare piece of 90s 7″ vinyl Americana. Not thrifted, but part of my collection. In fact, I was responsible for this single’s bass playing and sleeve. I post this, not merely to blow my own trumpet (or, indeed, pluck my own bass), but to announce a short hiatus from Thrifty V while I go over to the States to play a few shows in celebration of (and to shift a few units of) the vinyl re-issue of the Haynes Boys’ debut Lp, previously only available on cd. The physical album is released on 23rd June and will also be there for the taking on iTunes (not that Thrifty Vinyl readers care about that sort of thing).SAM_0701

Any Thrifty readers in Columbus, Ohio next week are encouraged to check us out. International types are encouraged to like ‘n’ share details on the Facebooks: https://www.facebook.com/HaynesBoys?ref=aymt_homepage_panel

Liner notes for the Lp are here: http://www.re-vinylrecords.com/haynes-boys.html

End of commercial.

Published in: on June 17, 2015 at 8:16 am  Leave a Comment  

Hanyes Boys (Re-Vinyl) (2015)

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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.

R-797540-1167923707.jpeg Michael Head & the Strands – The Magical World of the Strands “Kind of an obvious one, really. Brit Indie pop band [Shack], hears the Haynes Boys record, decides on a more rootsy direction.”

 

 

 

Voodoo_UKD’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.”

 

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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.”

 

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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.”

 

 

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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.”

 

1351288722Syd 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.”

 

 

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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.”

 

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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_-_DiscoveryDaft 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.”

 

 

Soundbombing2Various 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’.”

Published in: on April 1, 2015 at 10:35 am  Leave a Comment  

The Hour Glass (UA-LA013-G2) (1973)/ Duane Allman – An Anthology (2CP 0108) (1972)

SAM_0576The liner notes accompanying this compilation of the Hour Glass’s two Lps could hardly be more baldly dismissive, beginning with the opening paragraph (“The music on these two records is not very good”) and carrying on in like fashion from there (“Far from being the story of why the Hour Glass was such a fine band, it tells us more about why they were not“). In fact, writer Ben Edmonds’ attitude towards this charming pop-soul double album has more to do with place and timing than artistry.

A little background. The Hour Glass represents the first commercial output of Allman brothers Duane and Gregg. Despite having been in the business for a few years, the boys were manipulated in classic “I’m-gonna-make-you-a-star”-style into moving to LA dressed up in the hippy gladrags, having songs picked out for them and being allowed to perform only for a few high-profile gigs. As a result, the band was broke and culturally overwhelmed with a sorely misrepresentative repertoire, all of which left them more than a little frustrated and bitter. I think Edmonds’ liner notes reflect the band’s still fresh resentment rather than the music, which is actually quite good, certainly as good or better, thanks to the band’s considerable chops, than most Blue-Eyed Soul of the time. I got this three weeks ago in Hythe for a pound.

SAM_0577Not two weeks later, I picked a companion piece at the Ashford bootfair. Alluded to in glowing terms in Edmonds’ brush off, Duane Allman – An Anthology contains a couple previously unreleased Hour Glass tracks, notably a blues medley highly rated by the band, that indicate where the brothers were headed. SAM_0594In addition to a side’s worth of AB highlights, An Anthology also includes songs which feature Duane as sideman, such as Wilson Picket’s “Hey Jude” and Boz Scaggs’ “Lend Me a Dime”.SAM_0595

Published in: on October 6, 2014 at 12:53 pm  Leave a Comment  

The Replacements – “I Will Dare” b/w “20th Century Boy” and “Hey Good Lookin'” (TTR-8440) (1984)

SAM_0589On the precise 30th (!) anniversary of the ‘Mats breakthrough Let It Be, a reminder of what a buck could get you in the used record store bins (specifically Magnolia Thunderpussy) back in the late 80s.SAM_0590The Bolan cover is arguably better than the original, the Hank, much less so.

Published in: on October 2, 2014 at 3:51 pm  Leave a Comment  

Jackson Browne – Running On Empty (AS 53 070) (1977)

From the 1977 Thrifty Vinyl Archives SAM_0458JACKSON BROWN INVENTS ‘EARTH TONE-ROCK’

(Laurel Canyon, California) – We’ve had folk-rock, jazz-rock, and country-rock, never mind a score of other -rocks. Now, thanks to Jackson Browne, we’re got ‘Earth Tone-Rock’. With a musical and lyrical colour scheme that draws from a palette of browns, tans, warm grays, and greens, the California singer-songwriter seeks to comfort his listeners after the unsettling, revolutionary popular music of the past decade.

“I suppose with my name,” the duskily monikered musician joked, “It was inevitable that I’d invent ‘Earth Tone-Rock!”

Music fans who like to be warmed by subtle observations of the human condition, a cheery, burnished tenor voice and smooth harmonically rich melody should find much to admire in Jackson Browne.

Those who require something more aggressive and nihilistic should seek out what some have called “Shocking Pink Rock” as recently exported from the UK, such as the Sex Pistols, the Clash and the Buzzcocks.SAM_0461Editor’s Note: I always liked JB back in the day, though this was the only of his records I owned. I’d lost my original copy of Running On Empty years ago, so I was happy to replace it with this one, replete with booklet (pictured), last week. SAM_0460I had the chance to see Browne around the time of this record; in fact, my 12-year-old self had misheard my friend and thought he was inviting me to see James Brown (I didn’t actually know who Jackson Browne was) and so when I asked if I could go see the Godfather of Soul, my mother said absolutely not.Unknown

In other news, years later, I ruined the song “Rosie” for a friend’s girlfriend when I explained it was about self-pollution. That’s enough Jackson Browne anecdotes.

Published in: on July 17, 2014 at 10:00 am  Comments (4)  

The Band – Moondog Matinee (1973) and Northern Lights-Southern Cross (1975)


Screen shot 2014-06-08 at 16.26.47Pity The Band. They made two of the best records ever and then only made good records after that.SAM_0415Taken on their own terms, Moondog Matinee and Northern Lights are enjoyable and successful albums; in context, they pale somewhat. Moondog is an oldies record with verve aplenty, though loosening up what were originally fabulously concise recordings takes some getting used to. Northern Lights features analogous, slightly inferior versions of previous songs: so oddball love song “Jemima Surrender” becomes the amusing enough lost-love “Ophelia”; the oblique, yet aching history of “The Night They Drove Old Dixie Down” becomes the linear narrative of “Acadian Driftwood”; “It Makes No Difference”‘s straightforward sense of loss is the new “Tears of Rage”, etc. What’s missing is the group’s singular thrill of discovery and its off-kilter, but dynamic and perfectly judged sense of timing, melody and proportion. Simply put, they’d lost their natural eccentricity. It’s probably understandable.

SAM_0414These two cds cost me a quid apiece yesterday. I photographed them in their plastic cases, in spite of aesthetics, to demonstrate that sometime in 2001, HMV could get away with charging £17 for a simple re-issue compact disc because someone would pay it. I bought Big Pink and the brown album around the same time, but no way would I have forked out that much.

Published in: on June 8, 2014 at 3:44 pm  Leave a Comment  

Big Star – 3rd (VACK-1298) (1975)

SAM_1747One pound for the 2006 Japanese CD issue of the ultimate pop cult artist’s ultimate pop cult album in a mini-LP replica card sleeve with a printed inner and lyric sheet in Japanese & English? You bet I will.SAM_17493rd (aka Sister Lovers) was recorded in 1974, the quartet reduced/expanded to a duo/gaggle of session men. Having previously perfected an incisive, yet winsome writing/ performing/production style (let us call it Power Pop, for the sake of argument) 3rd was, infamously, sabotaged by leader Alex Chilton for reasons too perverse, personal or, indeed, psychologically complex to understand. For good reason is it compared to Plastic Ono Band, Tonight’s the Night and Who By Numbers. In the end, the recordings were too harrowing to release commercially and sat, dejected, on Ardent’s naughty step for four years until a clamour of voices from the New Wave, recognising a kindred and desperate love of both pop and self-flagellation, rose up and enabled its necessarily cobbled release. Fourteen years later, Ryko issued a resequenced version, including five worthy bonus tracks from the original, ramshackle sessions. It is a very good record and recommended to anyone who appreciates outsider pop art.

My ears aren’t fine enough to tell if this 2006 re-issue is the same remaster as the 1992 Ryko or not, it’s certainly the same tracklist order; logic suggests it should have been updated.
SAM_1748I might have the story wrong here, but I believe the tradition of Japanese album issues being that much better than their US/UK counterparts goes back to the early 80s/late 70s when unfavourable exchange rates meant that import albums sold at a fraction of the cost of domestic product. In order to make local albums more appealing for sale, Japanese manufacturers made it a point to utilise original tapes for remastering and include lyrics, posters, etc. where there’d been none. This was particularly useful for albums whose lyrics were indecipherable, e.g. Exile On Main Street.

Published in: on June 5, 2014 at 9:24 am  Leave a Comment  

The Grateful Dead – Live/Dead (WS.1830) (1969)

SAM_0377GARCIA ‘NOT GRATEFUL TO BE DEAD’ CLAIM

(Heaven) — You would have thought, that having named his band The Grateful Dead, deceased guitarist Jerry Garcia would have been pleased as punch shuffling off this mortal coil.

But nothing could be further from the truth, and nearly two decades on from his demise the dead head Deadhead proclaimed himself, “bored to tears of the Afterlife” in a celestial interview yesterday.

“Frankly, I miss playing music with my friends,” he sighed. “And it’s just not the same in Heaven since all of the other dead Grateful Deads here only play keyboards.”

The self-styled Captain Trips added that he’s “very much” looking forward to the deaths of ex-bandmates Phil Lesh, Bob Weir, Mickey Hart and Bill Kreutzmann to “jazz things up a bit up here.”

“At least I don’t have to see Pigpen since he’s in Hell,” Garcia smiled.

SAM_0379Editor’s Note: Having been force fed Dead in my youth, I’ve been relatively slow coming round. I still think their singing is mediocre at best, but I’ve picked up a few GD pieces over the years, all of which I enjoy. I got Live/Dead a few weeks ago in trade at a second record store in Canterbury. Unfortunately, the second disc turned out to be warped beyond playability. When I returned the album, the shopkeeper just said, ‘Keep it’ and gave me store credit.SAM_0380I’m keeping it for the first record, which has a lovely version of ‘Dark Star’, and the cover.SAM_0381

Pixies – “Planet of Sound” b/w “Build High” (AD 1008) (1991)

SAM_0375RE-FORMED PIXIES OBLIGED ONCE AGAIN TO HAVE GIRL BASS PLAYER

(Amherst, Massachusetts) — “It happens once, you think, ‘Bad Luck’ and move on; twice and it’s like, ‘What, is there a sign on my forehead?’; but three times, man, I think we must be cursed.” So says Pixies frontman Black Francis on the band’s seemingly never-ending stream of girl bassists beginning with Kim Deal, followed by Kim Shattuck, who was in turn followed by Paz Lenchantin.

“Each time we’ve formed or re-formed, all the guy bass players are, like, busy or something, so we pretty much get stuck with girls,” he explained.

“At least it’s not that important of an instrument,” the singer laughed. “I mean, imagine if it was a girl drummer or guitarist!”SAM_0376Editor’s Note: This was, oddly, part of the same batch of soul and jazz singles I got the weekend before last. Also among that group was a dozen or so Beatles and solo Beatles singles with cool home-made sleeves; I wasn’t really tempted, since I have them, but it was fun to see.

Published in: on May 12, 2014 at 6:17 pm  Leave a Comment  

Record Store Day (slight return)

SAM_0374Okay, I did participate in Record Store Day, if only virtually. And you will be pleased to hear that I didn’t have to entirely abandon my thrifty principles. I got the three RSD items above (relatively) cheap: the 5Lp Gilson box was going for £60 (and no postage) at Honest Jon’s the first Saturday they were “allowed” to sell RSD product online. I think this must have been a mistake because it was much more expensive elsewhere (upwards of £90 incl. postage) and HJ’s marked up their price to £75 the next day; the Everly’s Roots Lp has been on The List for some time now and Sounds of the Universe was (and, as of today, still is) flogging them at 20% off their £20 retail; finally, I picked up the lovely Action 8 x 7″ box set this week at Proper Music for £45, whereas everywhere else it was sold out or priced too high for me (£80-£120!).

In order to weakly justify/mitigate these, for me excessive, purchases, I’m selling several redundant or unlistened to pieces from the library.

So that’s all okay then.

Published in: on May 11, 2014 at 10:41 am  Comments (3)