Legacy 7″ Singles Box – 4

Tubeway Army – are ‘friends’ electric?
Beggars Banquet BEG 18
1979 UK

That this still sounds fresh to me even today is testament to the impact it had when it was originally released. There has been much talk about Numan appropriating this or that from various places, but nobody did this like he did this.

I had a load of singles once upon a time but I gave them away when I was 16 and moved to a new town, that is a regret I have as I can’t remember now what half of them were, but each one was so carefully chosen as they cost all the money I had.

the rest of the records in the box

Spinning some 45’s

Sunday afternoons are a good time to spin a few 45’s, starting with this one:


Tricky ft PJ Harvey – Broken Homes (B-Side)
Gary Numan – I Die You Die
The Sisters of Mercy – Temple of Love (1992)
The Dickies – Banana Splits
Talking Heads – Once In A lifetime
Depeche Mode – Just Can’t Get Enough
Blondie – Dreaming
The Tubes – White Punks On Dope
The Raconteurs – Steady As She goes
Sinead O’Connor – Jump In The River (B- Side)
The Cure – The Exploding Boy (B-Side)
David Bowie – Cracked Actor – (B-Side)
Echo & The Bunnymen – The Killing Moon
Martha & The Muffins – Echo Beach
Black Uhuru – The Great Train Robbery
Spiritualized – Soul On Fire
Bjork & David Arnold – Play Dead
Siouxsie & The Banshees – Christine
John Foxx – Underpass
Mogwai -Party In The Dark
Lena Lovich – Joan
Catatonia _ Game On
David Bowie – DJ
Killing Joke – Sanity
P.I.L. – Rise
Prince – When Doves Cry
The Smiths – The Boy With The Thorn In His Side


This is why I’ve never been asked to DJ at a wedding, the dance floor would rarely be occupied, which, in a way,I’d be quite pleased about.



Kate Bush – The Kick Inside


One of the best debut albums ever I should think.

It’s incredible to me that she was only 19 years old. and had written some of the songs when she was only 13. I was 11 when this came out and was very weirded out by her top of the pops appearance performing Wuthering Heights as I, and pretty much everybody else, had never heard anything like it before. I think that, early on, the TV sketches taking the mickey out of her detracted from just how extraordinary she was, although perhaps that the sketches existed at all were testament to the impact she made.

So that one was actually quite clever but the next one, by Faith Brown is shite, I never found her funny so perhaps it’s just me but everything she did was just really obvious I thought and her impressions were tosh:

Anyway, enough of all that. Here is the full album, using a lot of live performances.It was quite a while ago so the film quality varies but it is all quite listenable.

It really is a quite extraordinary set of songs, some of which have very strong hooks and some are a little more contemplative and warrant a more concentrated listen as lyrically they really are very interesting.


Track 1: Moving 3:08

Dedicated to Lindsay Kemp, a dance instructor, who inspired her to use her body in videos to represent her songs. The use of Whale song is, according to an interview with Sounds; “Whales say everything about ‘moving’. It’s huge and beautiful, intelligent, soft inside a tough body. It weighs a ton and yet it’s so light it floats. It’s the whole thing about human communication—’moving liquid, yet you are just as water’—what the Chinese say about being the cup the water moves in to. The whales are pure movement and pure sound, calling for something, so lonely and sad …”

Moving liquid, yes, you are just as water
You flow around all that comes in your way
Don’t think it over, it always takes you over
And sets your spirit dancing

Track 2: The Saxophone Song 3:44

This was one of her earliest compositions, written when she was about fifteen, in an interview she said “…I love saxophones so I wanted to write a song about them… The perfect setting was this smokey bar in Berlin with nobody listening except me in the corner…”

A surly lady in tremor 
The stars that climb from her bowels
Those stars make towers on vowels
You’ll never know that you had all of me
You’ll never see the poetry you’ve stirred in me
Of all the stars I’ve seen that shine so brightly
I’ve never known or felt, in myself, so rightly

Track 3: Strange Phenomena 2:58

This track speaks about déjà vu, synchronicity and how coincidences sometimes cluster together in seemingly meaningful ways. It has been described as a ‘frank paean to menstruation” by The Guardian.

Soon it will be the phase of the moon
When people tune in
Every girl knows about the punctual blues
But who’s to know the power
Behind our moves 

Track4: Kite 3:00

On the one hand, The narrator is tired of life and stress and wishes she were a kite so she could fly and not have worries. Her wish is granted but she soon longs for the safety ground again. On the other hand, this song is about a sacramental mushroom experience, specifically amanita muscaria. “Beelzebub” is a nickname for this fungus and it is mentioned in the Bible. I suspect it is the latter:

Beelzebub is aching in my belly-o
My feet are heavy and I’m rooted in my wellios
And I want to get away and go
From all these mirror windows

Track 5: The Man With The Child In His Eyes 2:40

She explained this song herself when interviewed on TV: “Oh! well it, its something that I feel about men generally (sorry about this folks) that a lot of men have got a child inside of them, you know? they’re more or less just …grown up kids… and that its… its a very… (delayed laughter from audience), no, no! its a very, very good quality… its really good because a lot of women grow up and get far too responsible and its really nice to keep that delight in wonderful things that children have, and thats what i was trying to say;… that this man can communicate with a younger girl because… he’s on the same level”

I hear him, 
Before I go to sleep,
And focus on the day that’s been,
I realize he’s there,
When I turn the light off,
And turn over,
Nobody knows about my man,
They think he’s lost on some horizon

Track 6: Wuthering Heights 4:25

This is based on Emily Bronte’s classic book of the same name. The song pretty much tells the same story as the book, only at a much higher pitch. In the book, two young people, Catherine and Heathcliff, are brought together and become lovers. Along the way, they struggle with issues of class and family. Wuthering Heights was Bronte’s only novel, although she did publish some poems.

This was a huge hit of course, and I’ve heard it many hundreds of times, but some chap slowed it down so it is 36 minutes long and it turns into a quite extraordinary soundscape that I wouldn’t mind having a copy of, listen for yourself:


Track 1: James And The Cold Gun 3:33

EMI wanted this to be the first single taken from the album but Bush insisted it be Wuthering Heights, she was right of course, but this is still one of my favourite tracks of hers. The song was inspired by a contemporary thriller, The Day Of The Jackal. Based on the book of the same name by English author Frederick Forsyth, well that’s one interpretation anyway.

James, come on home
You’ve been gone too long baby
We can’t let our hero die alone
We miss you day and night
You left town to live by the rifle
You left us to fight
But it just ain’t right to take away the light

Track 2: Feel It 3:04

In this track Bush sings openly about sexuality, “It’s not such an open thing for women to be physically attracted to the male body and fantasize about it,” she told Phil Sutcliffe in 1980. “To me the male body is absolutely beautiful.”  Bush added that with this and a few other songs, she expressed desire, “so bottled up you have to relieve it, as if you were crying.”

After the party, you took me back to your parlour
A little nervous laughter
Locking the door
My stockings fall onto the floor
Desperate for more
Nobody else can share this
Here comes one and one makes one
The glorious union, well, it could be love
Or it could be just lust
But it will be fun
It will be wonderful

Track 3: Oh To Be In Love 3:19

The feeling of being in love with someone and never being able to fall out of love with them, but becoming trapped in this situation. How it can be anyone at anytime, a completely random event.

I could have been anyone
You could have been anyone’s dream
Why did you have to choose our moment?
Why did you have to make me feel that?
Why did you make it so unreal? 

Track 4: L’Amour Looks Something Like You 2:27

Almost certainly about a one night stand, but who really knows with Kate Bush, it could have an entirely different meaning.

You came out of the night
Wearing a mask in white colour
My eyes were shining on the wine
And your aura
All in order we move into the boudoir
But too soon the morning has resumed 

Track 5: Them Heavy People 3:05

It could be that she is singing about being in therapy, getting help from ‘heavy people’ therapist, psychologists, a lot of heavy talking to work on your mind. Rolling the ball to you because it’s always up to you yourself to do the hard work in therapy. Of course it could be a dozen other things, maybe actually having several meanings.

Rolling the ball, rolling the ball, rolling the ball to me
They arrived at an inconvenient time
I was hiding in a room in my mind
They made me look at myself
I saw it well, I’d shut the people out of my life
So now I take the opportunities
Wonderful teachers ready to teach me
I must work on my mind
For now I realise that everyone of us
Has a heaven inside 

Track 6: Room For The Life 4:03

She may be going against the position of many second-wave feminists in this song,  saying that women shouldn’t get down on themselves because of men, or it could be about about the womb, or both.

Hey there you lady in tears
Do you think that they care if they’re real, woman?
They just take it as part of the deal
Lost in your men and the games you play
Trying to prove that you’re better, woman
But you needn’t get heavy with them
Like it or not, we were built tough
Because we’re woman

Track 7: The Kick Inside 3:37

The original demo version of this track refers to “Lizzie Wan” (alternately “Lucy Wan”) is an 18th-century English/Irish folk ballad, best known as The Ballad of Lizzie Wan, which recounts the tragedy of Lizzie Wan, who falls in love with her brother and then kills herself while carrying his child. This doesn’t mean that this happened to her but she has always been very close to her brother and it could well be about feelings rather than actions.

I’m giving it all in a moment for you.
I’m giving it all in a moment or two.
I’m giving it all, giving it, giving it.
The kicking here inside
Makes me leave you behind.
No more under the quilt
To keep you warm.
Your sister I was born. Lose me.
You must lose me like an arrow,
Shot into the killer storm.

All of the above interpretations could be rubbish of course, and what is really important is what a song means to each listener and how they interpret it.

The US cover of the album is less interesting than the UK one I think and I don’t know why it had to be different, this is it, Kate Bush in a box:


Apparently Tori Amos pays homage to this US cover with her debut, Little Earthquakes:


It’s hard to believe that I’ve been listening to tracks from this album since 1978, that’s 40 years. I didn’t own it when it was first released, 11year olds don’t have that much disposable income, and I can’t remember when I got it but its been a lot of years now. A brilliant album.

Rating: 9.6



Two Gallants – We Are Undone


I bought this album entirely on a whim having heard nothing, nor even read about them. I just liked the look of it and it was a reasonable price, I think I paid £8. I believe this is their sixth album and they are described as a Folk rock duo from San Franciso, California, USA. The band name comes from the title of a story by James Joyce in his book Dubliners.

I’m not sure I’d go for folk rock myself, to me they are a cross between The White Stripes, Radiohead and Nirvana as, when I’ve listened to the album, bits and pieces that have cropped up have reminded me of those three bands more than any others.

It took me a few listens, 3 or 4, before I could decide if I liked the album or not and, having listened to it again today, I have fallen on the side of like.

We Are Undone, was released in February 2015 having been written and recorded at Panoramic House studio in rural Stinson Beach, California, a house converted into a studio where the band also stayed while recording. I believe they normally work on songs as they perform them live but these songs weren’t done that way for the most part and were born in the studio, I’ve no idea what if anything changed as a result from earlier albums but I like this one so something must have gone right.


I liked this live performance of ‘Some Trouble’ quite lot.

This is from their website (which can be found here) about the release of this album:

Reached at home, Stephens and Vogel talked about finding inspiration in admitting you don’t have the answers. You recorded this with Karl Derfler in Panoramic Studio in Stinson Beach; what was working with Karl like? For this one, he just acted more as an engineer than a straight producer, correct?

Adam Stephens: The limitations of playing with essentially two instruments has probably been the most driving force for our sound over the years. It’s like this wall that we continually bump up against and every time it repels us in a new direction. Karl pulled off some incredible things within those restrictions. Karl’s been involved in some amazing records and with a lot of musicians we look up to: Tom Waits, Roky Erickson, The Flamin’ Groovies, just to name a few. The three of us pretty much saw eye-to-eye immediately on what we wanted to hear. I think he was able to capture our sound in a way that was very familiar and very real but somehow new to us as well.

So on the opening song and title track “We Are Undone,” You’re talking about the marketplace, you’re talking about the dry and barren field.  And you also say “you sing to the choir/and they know every line.” What was sort of on your mind as you were making the song?

AS: I guess that song is about the illusion of thinking that what you’re doing is of some significance simply because people come out to your shows or because you are told that you make something that moves people in a certain way. But the song is definitely not a statement. I don’t know. It was more of an exploration I guess.

Like, trying to find an answer through a song. It’s not like you have a definite answer. You’re sort of thinking about things out loud.

AS: Yeah. I don’t believe in writing songs with a plan in mind. That saps all the impulse out of it when it should be more like following a lead. The lead I was following with “We Are Undone” was, without being too blunt about it, trying to make sense of this unending pressure to acquire and consume, and usually as conspicuously  as possible, that has taken a hold of our culture. Consuming actual material items and consuming the belief system behind it: that our lives and our happiness are absolutely dependent upon those very items. Everyone is aware of the destructive nature of the way that we live, but nobody wants to do away with all of its comforts. And if you, for a second, start to tell someone that the only way we’re going to solve a problem is if we do away with a certain comfort that they’ve grown up with or grown so accustomed to, then people are up in arms and don’t want to do anything about it.

Were you thinking about anything in particular when you wrote this song? Because you’re from San Francisco. Was that something on your mind while you were writing?

AS: Not this song as much. Actually, the last song on the album, “There’s So Much I Don’t Know,” has a lot more to do with that.

How so?

AS: It’s a bit more about the feeling of becoming estranged from the city, from San Francisco. The place that has always been our home has become rather unwelcoming for the very people whose eccentricities had defined the city for so long; people who want to live simply and make art or music or just be weird somewhere. Every place that has housed or staged that oddity and diversity has basically become extremely exclusive or been shut down. The strangeness is gone. That’s kind of the centerpiece of the song I guess.

Tyson Vogel: If you listen to all of our records, we never have ever tried to portray anything that wouldn’t really be there if you were to go see us play live. And I think a lot of that is in the process of creating the songs, too. Also just having faith in that space, but also, giving the simplistic nature of only two members its full due. You have to commit to it fully.

So tell me about the cover? I hear you have something interesting planned.

AS: It’s a drawing by Kevin Earl Taylor of a 160,000 year old fossilized human skull. As far as the fossil record reveals, it’s basically considered to be from the last stage of evolution that preceded modern humans. The idea was to hint at humanity before it had fully developed its self­-awareness. When its consciousness was just budding. A stage, obviously, all of us go through in a lifetime when we first begin to realize that we’re actually individuals, separate from our parents and our surroundings.

You and Tyson have been working together for around 12 years, and you’ve known each other for much longer than that, right?

AS: Yeah, we’ve known each other since we were five.

So, as you and Tyson have been doing it for a long time, do you sort of have to push each other in order to keep it fresh? Do you guys have to guard each other and let yourselves fall back on old habits?

AS: Well, I would say the one thing that we try to remind one another of is to not overthink what we’re playing. A lot of times when we have a new song that feels pretty good, we’ll decide to not keep working on it because we don’t want to lose that initial feeling. It’s sort of inevitable that we will. But it’s really important to kind of keep that initial feeling, to be able to maintain that part of the song that was there before it could really be considered a song.

TV: I think there’s something especially raw about being in a band with only two people, there’s a certain set of chemistry or energy that happens. This sort of transferal. And I think that ever since the beginning, it’s been super intimate. Because it’s only us two. And so, with that there comes a lot of freedom. And then there comes a lot of spots where we both have to be able to acclimate to maybe a difference of approach or a creative idea that is new to our process. And there’s a volatile love that comes with that process. I think that with this album, in reference to the albums previous, I think it steps in line with this other sort of expansion of both our personal lives, and our relationships personally. We’re both growing together and in different ways, and learning how to find that balance.


A1 We Are Undone
A2 Incidental
A3 Fools Like Us
A4 Invitation To The Funeral
A5 Some Trouble
B1 My Man Go
B2 Katy Kruelly
B3 Heartbreakdown
B4 Murder The Season / The Age Nocturne
B5 The Strange Is Gone

Rating: 8.4

Although nothing to do with this album, the track below was on the previous album and I like it, so I may have a look for tht at some point:

Better luck today

Went to a market which had a record stall and to a record fair. Both were small and didn’t have much that was for me but I did manage to pick up a few things, I also met up with Handsome Dave, he calls himself that, nobody else does:


Oh, and this, which is very nice condition:


So having drawn several blanks over the last couple of weeks I feel better now having fed my addiction, which should keep it at maneagable levels for a little while at least.


Record Stores In Istanbul

I was in Istanbul, Turkey, last week and before going I did a bit of research on record shops there, of which there are a decent number and from what I know the prices are pretty good, with the conversion from GBP to Lira being quite favourable. This is taken from the Istanbul Guide:

Jammin’s Vinyl Records


In a calm corner of Şişli away from the frantic crowds, Jammin’s offers “vinyl records & friendship.” This indicates the relaxed and welcoming atmosphere in the shop, where you’ll probably want to sit and enjoy a cup of Turkish coffee with owner Cem Ülkü. The shop focuses mainly on foreign records from the 70s and 80s, although Ülkü also has a love of the Turkish psychedelic era – notice the illustrations on the walls by Burak Şentürk, who illustrated the Barış Manço song “Nick the Chopper” for the Anatolian Rock Project.

Analog Kültür

Located at the end of one of Istanbul’s coolest streets, Analog Kültür is a welcome addition to Istanbul’s record store scene. Run by vinyl enthusiast and DJ Kaan Düzürat, it is an intimate space, brimming with old and new, Turkish and international classics. A mixing desk is built into the counter, flanked by two Technic 1210s, from where the shop’s staff and visiting musos select an eclectic playlist. Whether you’re a serious collector or casual browser, pop in here and you may find it difficult to leave.

Lale Plak

Lale Plak is located in Tünel Square at the very top of Galip Dede Caddesi, a street sloping down from Tünel to Galata that is known for its music shops. Hakan Atala, the owner of Lale Plak (which has existed for over 50 years), keeps an extensive stock of records in his store including iconic 70s Turkish singers such as Barış Manço or Ajda Pekkan, as well as (Western) classical music, and world music. The records at Lale Plak are all new, not second hand, and signed jazz records are available for purchase.

Mono Plak

Mono Plak is a vinyl shop specializing in folk, rock, jazz, and vintage Turkish music. Located in the pretty district of Çukurcuma, on a street parallel to the Museum of Innocence, Mono Plak has a carefully selected batch of records organized by genre. From The Grateful Dead to Aretha Franklin, Black Sabbath to the Talking Heads, or the Rahbani brothers to Zafer Dilek, there is a wide variety of Eastern and Western classics and rarities from past to present.

Mandala Müzik Evi 

Mandala Müzik Evi, in the Aslıhan Pasajı in Galatasaray, which is also a great place to hunt for second-hand books, will be familiar to fans of the movie Issız Adam as the place where the main character, Alper, first meets his love interest Ada. (She is looking for a second-hand novel, he for a collector’s item LP.) With Mandala’s extensive second-hand collection there is a good chance that you, too, will find what you are looking for (musically speaking, that is.) Mandala’s stock, divided more or less equally between 33 and 45 RPM, focuses on 1970s music, both Turkish and foreign.

Zihni Müzik

The Asian side’s answer to Aslıhan Pasajı is of course Akmar Pasajı in downtown Kadıköy, long known to students as a place to buy course books and English-language readers. Zihni Müzik is located on the basement level of the passageway. The store has one of the biggest collections of LPs in Istanbul with around nine thousand records in stock, of which nearly three quarters are second-hand (most of the records are 33 RPM, although a considerable stock of 45s is also available).

Vintage Records

Also on the Asian side, in the upscale Moda district, is Vintage Records. The store, barely five years old, has a vast collection of second-hand LPs, and is particularly strong on Turkish pop/rock of the 60s and 70s as well as English-language classic rock. You can also find various kinds of musical equipment (amps, speakers, etc.) for sale here.


Kontraplak, a new addition in the Beyoğlu area, caters to the underground crowd while maintaining a balance of well-spun classics. A record player sits in the back to explore any album you might want to further explore, and a couch rings the far wall for you to sit, relax, and take in the musical view. A surprisingly wide-range of genres are on offer, anything from chamber pop to jazz to acid techno can be tracked down here. The friendly vibe of the staff and the basement-like feel of the store bump up the exclusivity vibe, as does the collection of obscure titles that they carry.

Opus 3A

On the European side, Opus 3A in Cihangir stocks new records rather than second-hand. Its collection focuses on jazz, as well as legendary Turkish 70s pop icons such as Barış Manço or Ajda Pekkan, with some rock and classical music as well. Most of Opus 3A’s records are 33 RPM.

Deform Müzik

Another record store in Cihangir is Deform Müzik owned by Ozan Maral and Tayfun Aras who are also known as the DJ duo Deform-E. The store’s second hand stock is a mixture of all kinds of genres including 50s and 60s soul and funk or rock as well as Turkish and international records.

Vinyl events in the city:

Deform-E and vinyl market Kadıköy’s favorite hipster bar, Arkaoda, frequently hosts the owners of the Deform store who spin their products in the DJ booth as the duo ‘Deform-E.’ Vinyl markets are also set up in the garden area where a selected collection from the area’s best shops come together for fingers to browse through.

A lot to go at there, much digging to be done. I went to none of these. My three days in Istanbul were for work and I saw the inside of hotels, motorway and the inside of offices, absolutely nothing else of note, I may as well have been in Coventry for all the culture I soaked up. This was a major disappointment to me, but there just wasn’t any opportunity to go exploring. I am back in April and need to try and get a flight back on a Sunday instead of a Thursday so that I can have some time to wander in the city and go to some of the shops above. I’ll let you know how it goes.

Run Dust – Serf Rash

Also in the ‘That Special Record’ sale I picked up ‘Serf Rash’ by Run Dust, which is an absolute corker of an album, well, it is if you like this sort of thing, and I do.

Label: In Paradisum ‎– IP018
Format: Vinyl, LP, Album, Limited Edition
Country: France
Released: 16 Mar 2015
Genre: Electronic
Style: Experimental, Industrial, Techno, House

This is another release from the ‘In Paradisium’ label, so I have 3 now. This album is a limited run of 300 and there are very few left according to the label. Speaking of which, here is what they have to say about this album:

We discovered Run Dust through the demos that became the amazing Zeckenentferner tape on Opal Tapes. If you’re familiar with Opal Tapes, it’s fair to say this release stands out, as Run Dust music stands out generally, and that’s why it finds its place within our label. This eleven track album covers plenty of ground from proper songs to brutal techno, romantic melodic stuff to dystopian minimal and does it all with a unique sense of texture and storytelling.

Things kick off with the frosty bleeps and gauzy textures of ‘Saddle Maker’ and the gallivanting, brutal techno beats of ‘Wharf Rat’ before unsettling ambience and sparse drums characterise ‘Sterling’s Yard’ with its squealing bleeps and industrial menace. Run Dust can do more soothing soundscapes, too, as shown on the dubwise ‘This Is A Lovely Sign’ and the blissful echo chambers of ‘Doctor John Dee’. Cuts like ‘Scythe Toon’ pick up the pace again and hit you over the head with alarming sirens and rough drums and ‘Tour of College’ gets all lo-fi, housey and bittersweet.

With its powerful sense of melancholy and fragile energy, Serf Rash brings us back to the first generation of beautiful albums in electronic music by artists like Aphex Twin, and conjure up a great spirit of escape. So get stuck in and enjoy the ride…


released March 16, 2015All tracks written and produced by Run Dust. Mastering by James Plotkin. Graphic Design by Thibaut Proux and Jules Estèves


AI Saddle Maker 2:45
AII Wharf Rat 2:04
AIII Serling’s Yard 2:10
AIV The Lovely Sign 2:22
AV Doctor John Dee 4:40
AVI Oil and Gas 2:24
AVII Scythe Toon 3:52
BI Open Anchorite 3:58
BII British Jump Suit 3:24
BIII Tour Of College 6:22
BIV Mitigator 5:22

The music is crashing metal, beeps, bloops, beats and, if you take a close listen, pretty complex at times with discordancy overlaying a more melodic base. There’s some rather nice repetitivnes at times as well which becomes familiar, something to hold onto while an electronic progression trills off in the opposite direction.

It took me a little while to ‘get’ this release but having streamed it several times and having grown to really love it, getting a vinyl edition was no big decision really, and taking off the earphones, putting the disc on the turntable and turning up the amp is a different, and better experience.

SJ Records – Stratford Upon Avon

I was in Stratford Upon Avon today and found myself with a spare couple of hours so I did a quick search on my phone and found SJ Records, which is upstairs in an antique centre opposite Shakespeare’s birthplace. The chap there, who is originally from California, was great. We chatted about records as I flicked through the crates and built a little pile of records that I wanted on a chair. At one point he went off to get a pepsi and offered me one as well, which was very friendly I must say. Here is a quick 30 second look around, although this video I took does make me a little giddy:

There’s very much something for most tastes there and a few things I had, like a really nice copy of Mr.Beast by Mogwai, which I would have bought if I didn’t already have it. There’s some quite pricey records but the vast majority are between £4 and £8. Roughly in line with what one might expect to pay on Ebay but, of course, without the postage cost and the very good company whilst browsing.

So what did I buy? Quite a few 12″ singles, some were a little bit impulse, which is not necessarily a bad thing as I rarely regret impulse buys of vinyl. There were a load of 12″ by The Cult, who I have a soft spot for ever since I first heard ‘She Sells Sanctuary’ so I picked those up, even though I have the albums they are taken from. How could I resist this though?


In fact, here it is on video (I sound old fashioned saying that I know but what else am I supposed to say?), TURN UP THE VOLUME!

Ok, so I just had to listen to that three times before carrying on, it’s one of my faviourites of theirs. Then there was Lil’ Devil, classic rock lyrics!:

Livin’ in a shack in a one-horse town
Trying to get to heaven ‘fore the sun goin’ down
Lizard in a bottle, yeah

Dizzy in a haze for 40 days
Hey there, little devil

Come on little devil
Be my little angel
Come on little devil
Be my, yeah, angel, ow

Oh, she came on with an alligator smile
Dynamite lover, scorpion child
Trying to get to heaven ‘fore the sun goes down, yeah

She came on with a cyclone kiss
Hey there baby, you don’t never miss
Lizard in a bottle, oh yeah

The third 12″ single I picked up was from the same album, ‘Electric’ (which is a great album, get yourself a copy), ‘Wildflower’:

The fourth, ‘Rain’, was a mistake. It’s from their second album, ‘Love’ and I like it a lot, but I already have the 12″, so now I have 2, it was £3 so not the end of the world, but I actually picked the wrong one up and left the one I wanted there. Oh well, it might still be there next time I go back and it’s an excuse to put it down below:

These guys are still going, still writing and releasing new music and I’m going to be picking up their latest album at some point. I’ve seen it on the racks but there’s always been something that I wanted that little bit more.

I bought another 4 12″ singles and a couple of albums and as I was about to pay I was given an £8 Tangerine Dream album (Phaedra) that I’d been looking at as a thanks for buying the other records, which was just wonderful, it made my day. So if you ever happen to be in Stratford Upon Avon then pop in, you never know, you might just have a pleasant time and find a record you’ve been looking for.

Storage is an issue

IMAG0834_20150517190653521When I bought a replacement turntable last year I didn’t really have anywhere sensible to put it, so I dragged an old shelf unit from the back of the garage, where it had been doing a great job of allowing various bits of crap that I should have thrown away to sit on it. I now think I should pay a visit to IKEA or somewhere to sort out the overflow problem I seem to be having, the problem is evident in the picture.

I know there all sorts of lovely bespoke units available, but I really don’t have that sort of money to throw around, utilitarian is what I need, something functional will do me just fine.

I did an IKEA search a few weeks ago and found the perfect unit, except it didn’t seem to be available in the UK, so I may have to go to my nearest store armed with a record and find something that it will fit into that also allows me to put my turntable and amp on the top.

Just as a point of interest, this photograph was taken while listening to ‘Breakfast In America’ by Supertramp. You can see the cover on the left.