What vinyl are you listening to?

[Marvindodgers]

Genesis - Wind & Wuthering

Boney M - Night Flight To Venus (bit odd I know, but splendid fun)

 

[Freddy58]

Genesis - Wind & Wuthering

Boney M - Night Flight To Venus (bit odd I know, but splendid fun)

Blimey!

 

[stevebrock]

Al Stewrt - Year of the Cat

Neil Yoiung - Live at the Cellar Door

Depeche Mode - Balck Celbration 180g reissue

 

[Charlie Jefferson]

The Together Mix - Vini Reilly

The greatest slice of thumping, electro-jazz-techno-ambient-pop committed to vinyl. Probably. Forget Daft Punk, Air, Neu, Can, Amon Dull & Kraftwerk, this guy is the Meister.

Bizarre Dub Triangle - New Order 12"

To Each and Every . . . - A Certain Ratio

Force - A Certain Ratio

They made some incredible records but like Vini/Durutti Column they seem to have been forever overshadowed by Joy Division/New Order & The Happy Mondays as Factory's stars. Then again they also made some duds around the time of Madchester. Unlike Mr. Reilly who never put out mediocrity.

And then back to more Vini, in the slightly more conventional but still achingly beautiful form of . . .

Late Nght, Maudlin Street - Morrissey

 

[Lost Angeles]

Silence, No Vinyl, amp broken again :help: :wall:

 

[BIGBERNARDBRESSLAW]

Silence, No Vinyl, amp broken again :help: :wall:

Join the club. :boohoo:

What's the matter with it?

 

[jamesrfisher]

The Doors - LA Woman

 

[Jim-W]

Hi Charlie-Interested in what you said re The Durutti Column and I agree with you entirely; for me, the most interesting and most beautiful music to come out of the Madchester days. The Return Of The Durutti Column is one of my very favourite records. Vini is a great guitarist and composer. Not a great singer though!

Nice to see 'In The Land Of Grey And Pink' getting a spin. A huge favourite when I was 16. Played it to death. Still love it.

Ralph Towner: Batik. ECM record. If you like guitar players this is highly recommended. He's a sensitive and subtle player. Evocative music. Briliant bass player too.

Love-Out Here.

Charlie Mingus-Mingus Mingus Mingus Mingus Mingus

Pink Floyd- San Tropez. Boot, live in 1970.

Captain Beefheart-Trout Mask Replica.

 

[Charlie Jefferson]

Hi Charlie-Interested in what you said re The Durutti Column and I agree with you entirely; for me, the most interesting and most beautiful music to come out of the Madchester days. The Return Of The Durutti Column is one of my very favourite records. Vini is a great guitarist and composer. Not a great singer though!

Nice to see 'In The Land Of Grey And Pink' getting a spin. A huge favourite when I was 16. Played it to death. Still love it.

Ralph Towner: Batik. ECM record. If you like guitar players this is highly recommended. He's a sensitive and subtle player. Evocative music. Briliant bass player too.

Love-Out Here.

Charlie Mingus-Mingus Mingus Mingus Mingus Mingus

Pink Floyd- San Tropez. Boot, live in 1970.

Captain Beefheart-Trout Mask Replica.

Hi Jim,

Good to hear some further endorsements for the wonder of Vini. Yes, The Return Of. . . is a fantastic creation, isn't it.

In our household his voice has become a Christmas hit, surreally. A bootleg demo of him singing Morrissey's Hairdresser On Fire ended up being one of my daughter's favourites.

Thanks for the Ralph Towner recommendation. I'm aware of his name but not his music. I'm hoping it's not as smooth as some other ECM artistes I have bought in the decades past. Cf Pat Metheny's early LPs. I bought them at Uni hoping they would satisfy my urge to discover "jazz" and "jazz guitar". Neither box ticked there. A more circuitous route took me to other players, jazz and non-jazz who I much prefer. (Grant Green, Joe Pass, John Fahey, Leo Kottke, Stefan Grossman et al - the usual suspects, I suspect!).

I've been playing Michael Chapman, via Spotify, in the car. It's good stuff. Although I couldn't find those LPs you mentioned, so had to settle for a compilation collection. I'm going to a record fair next weekend, so he'll be on my look-out for list.

Last night I made a little progress in "cataloging" my vinyl, starting with Neil Young LPs. Too many records, not enough Expedits/room, so I'm having to be selective in what makes it into the listening room. Space for about 800, the rest all still languishing in the loft/garage.

Expecting To Fly - Buffalo Springfield

Time Fades Away - NY

Re-ac-tor - NY

Landing On Water - NY

 

[Babur72]

Hi all,

Recently listened to Johnny Flynns' Country Mile, Laura Marlings' I Speak Because I Can, Angus & Julia Stones' Down the Way, The Civil Wars & The Magnetic North's beautifully atmospheric Orkney: Symphony of the Magnetic North.

Regards.

Babur.

 

[Jim-W]

Hi Charlie-Interested in what you said re The Durutti Column and I agree with you entirely; for me, the most interesting and most beautiful music to come out of the Madchester days. The Return Of The Durutti Column is one of my very favourite records. Vini is a great guitarist and composer. Not a great singer though!

Nice to see 'In The Land Of Grey And Pink' getting a spin. A huge favourite when I was 16. Played it to death. Still love it.

Ralph Towner: Batik. ECM record. If you like guitar players this is highly recommended. He's a sensitive and subtle player. Evocative music. Briliant bass player too.

Love-Out Here.

Charlie Mingus-Mingus Mingus Mingus Mingus Mingus

Pink Floyd- San Tropez. Boot, live in 1970.

Captain Beefheart-Trout Mask Replica.

Hi Jim,

Good to hear some further endorsements for the wonder of Vini. Yes, The Return Of. . . is a fantastic creation, isn't it.

In our household his voice has become a Christmas hit, surreally. A bootleg demo of him singing Morrissey's Hairdresser On Fire ended up being one of my daughter's favourites.

Thanks for the Ralph Towner recommendation. I'm aware of his name but not his music. I'm hoping it's not as smooth as some other ECM artistes I have bought in the decades past. Cf Pat Metheny's early LPs. I bought them at Uni hoping they would satisfy my urge to discover "jazz" and "jazz guitar". Neither box ticked there. A more circuitous route took me to other players, jazz and non-jazz who I much prefer. (Grant Green, Joe Pass, John Fahey, Leo Kottke, Stefan Grossman et al - the usual suspects, I suspect!).

I've been playing Michael Chapman, via Spotify, in the car. It's good stuff. Although I couldn't find those LPs you mentioned, so had to settle for a compilation collection. I'm going to a record fair next weekend, so he'll be on my look-out for list.

Last night I made a little progress in "cataloging" my vinyl, starting with Neil Young LPs. Too many records, not enough Expedits/room, so I'm having to be selective in what makes it into the listening room. Space for about 800, the rest all still languishing in the loft/garage.

Expecting To Fly - Buffalo Springfield

Time Fades Away - NY

Re-ac-tor - NY

Landing On Water - NY

Well, the Ralph Towner is more 12 string and acoustic based. It is dreamy, ethereal but probing with some sort of forward momentum-ie it gets somewhere, it doesn't just noodle along. I think it's Metheny's tone which can be a bit bland and smooth, as you say. John Fahey and Leo Kottke are just brilliant beyond belief-I throw the guitar down in disgust at my ineptitude.I rate Grant Green too. Django is my god, though. I think, when it comes to jazz, I prefer sax as a main instrument-it's just so much more powerful and emotive over the top of drums and bass.

The Vini bootleg sounds hilarious!

No Neil Young 1st album or After The Goldrush in your listening space, Charlie? For what it's worth, they're two of my faves, along with Comes A Time and Rust Never Sleeps.

The Michael Chapman original albums do hang together very well as albums-ie the sequencing is thoughtful-probably does him more justice than a greatest hits or compilation. Not that he had any great hits!

Regards.

 

[Charlie Jefferson]

Hi Jim,

Yes, I'm reminded of my own utter uselessness with the guitar whenever I listen to just about any guitar stuff. A long-standing favourite in the dexterity meets tunefulness meets experimental brilliance department is Lion by John Fahey. Also for sheer exuberance his Brenda's Blues.

My high school music teacher used to play The Transfiguraion of Blind Joe Death in our General Studies lessons in sixth form. We'd sit in silence, take it all in and then be invited to talk about the concept of "American folk" music. More silence from us lot, followed by a startling and erudite disquisition by our bearded relic Mr. Bradbury. He also instilled in me an early reverence for Mr. Zimmerman. That teacher would probably be deemed incompetent by today's Ofsted primates. Suffice to say, he was brilliant.

Fear not Jim, my Neil stocks are high on nearly all his LPs. The ones listed previously were those I'd played.

The debut, despite or perhaps because of it's somewhat mangled and strangulated production, carries a certain mystique and aural sensibility that none of Neil's other albums convey. There's something curiously claustrophobic and hesitant about his voice too that further adds to the austere feel.

l really the "remix" of Here We Are In The Years on the Archive box. I'd love to hear the whole album in that form.

Ralph Towner here I come.

 

[jamesrfisher]

Kylie - The Abbey Road Sessions

Roisin Murphy - Overpowered

Orange Juice - Rip It Up

David Byrne - The Catherine Wheel

David Bowie - Earthling

Jagwar Ma - Howlin

 

[geordie777]

Been having a bit of a Velvet Undergroud / Lou Reed session the last few days on heavy rotation have been :-

The Velvet Underground & Nico

White Light White Heat

The Velvet Underground

Loaded

VU

VU Another View

Berlin

Lou Reed

New York

Sally Can't Dance

Coney Island Baby

The Bells

Animal Seranade

and various others.

 

[Lost Angeles]

Silence, No Vinyl, amp broken again :help: :wall:

Join the club. :boohoo:

What's the matter with it?

It's gone back for repair and I'm keeping my observations to myself until it returns.

 

[Jim-W]

Hi Jim,

Yes, I'm reminded of my own utter uselessness with the guitar whenever I listen to just about any guitar stuff. A long-standing favourite in the dexterity meets tunefulness meets experimental brilliance department is Lion by John Fahey. Also for sheer exuberance his Brenda's Blues.

My high school music teacher used to play The Transfiguraion of Blind Joe Death in our General Studies lessons in sixth form. We'd sit in silence, take it all in and then be invited to talk about the concept of "American folk" music. More silence from us lot, followed by a startling and erudite disquisition by our bearded relic Mr. Bradbury. He also instilled in me an early reverence for Mr. Zimmerman. That teacher would probably be deemed incompetent by today's Ofsted primates. Suffice to say, he was brilliant.

Fear not Jim, my Neil stocks are high on nearly all his LPs. The ones listed previously were those I'd played.

The debut, despite or perhaps because of it's somewhat mangled and strangulated production, carries a certain mystique and aural sensibility that none of Neil's other albums convey. There's something curiously claustrophobic and hesitant about his voice too that further adds to the austere feel.

l really the "remix" of Here We Are In The Years on the Archive box. I'd love to hear the whole album in that form.

Ralph Towner here I come.

Sorry to bore you and everybody else with this reply but i have 'a thing' about the debut solo album. so here's a few points that are, of course, just my opinion. He didn't believe he was any good as a singer at this time, hence the buried nature of the vocals. I've had the remix on vinyl for ages and it certainly allows the guitar to be heard much more clearly and the voice is more prominent too; the whole record is more alive and less claustrophobic. Funnily enough, I much prefer the original mix of 'Here we Are In The Years', one of my favourite all-time Neil songs.I just think, as the Springfield stuff reveals, Neil was a great 'pop' songwriter and this record is perhaps the last time he ventured down this path; I mean sort of pure pop sensibility as opposed to the rock, country and other strange hybrids he'd have a go at later. In many ways I wish he'd not become the guitar-hero kind of rawk guy, although I like 'Ragged Glory' et al well enough. I guess, in short, I like his quirky pop songs best which is why 'Goldrush' is such a great record too. i guess there's the shy guy persona too which seems to infuse these songs and I'm a sucker for that. I often imagine a parallel Neil Young career, made up of brilliantly quirky and eccentric pop records, much like that first album.

I will, no doubt, be shot down in flames for this heresy!

 

[Marvindodgers]

Echo & The Bunnymen - Ocean Rain

 

[Charlie Jefferson]

Hi Jim,

Yes, I'm reminded of my own utter uselessness with the guitar whenever I listen to just about any guitar stuff. A long-standing favourite in the dexterity meets tunefulness meets experimental brilliance department is Lion by John Fahey. Also for sheer exuberance his Brenda's Blues.

My high school music teacher used to play The Transfiguraion of Blind Joe Death in our General Studies lessons in sixth form. We'd sit in silence, take it all in and then be invited to talk about the concept of "American folk" music. More silence from us lot, followed by a startling and erudite disquisition by our bearded relic Mr. Bradbury. He also instilled in me an early reverence for Mr. Zimmerman. That teacher would probably be deemed incompetent by today's Ofsted primates. Suffice to say, he was brilliant.

Fear not Jim, my Neil stocks are high on nearly all his LPs. The ones listed previously were those I'd played.

The debut, despite or perhaps because of it's somewhat mangled and strangulated production, carries a certain mystique and aural sensibility that none of Neil's other albums convey. There's something curiously claustrophobic and hesitant about his voice too that further adds to the austere feel.

l really the "remix" of Here We Are In The Years on the Archive box. I'd love to hear the whole album in that form.

Ralph Towner here I come.

Sorry to bore you and everybody else with this reply but i have 'a thing' about the debut solo album. so here's a few points that are, of course, just my opinion. He didn't believe he was any good as a singer at this time, hence the buried nature of the vocals. I've had the remix on vinyl for ages and it certainly allows the guitar to be heard much more clearly and the voice is more prominent too; the whole record is more alive and less claustrophobic. Funnily enough, I much prefer the original mix of 'Here we Are In The Years', one of my favourite all-time Neil songs.I just think, as the Springfield stuff reveals, Neil was a great 'pop' songwriter and this record is perhaps the last time he ventured down this path; I mean sort of pure pop sensibility as opposed to the rock, country and other strange hybrids he'd have a go at later. In many ways I wish he'd not become the guitar-hero kind of rawk guy, although I like 'Ragged Glory' et al well enough. I guess, in short, I like his quirky pop songs best which is why 'Goldrush' is such a great record too. i guess there's the shy guy persona too which seems to infuse these songs and I'm a sucker for that. I often imagine a parallel Neil Young career, made up of brilliantly quirky and eccentric pop records, much like that first album.

I will, no doubt, be shot down in flames for this heresy!

Hi Jim,

There's no anti-inflammatory condemnatory remarks from me!! I like your "thesis". It's always good to have one's own and others' received wisdom challenged or jolted.

A need to ask a few questions though. I'm aware of the existing mixes (two in total, yes?) of the debut but don't know for certain which one(s) I own. Was the former mix deleted? I've got an original looking glossy-sleeved vinyl on the original Reprise label, if that helps. Oh, and there's no wording on the cover, just the pic of NY.

Anyway, I love Ragged Glory and Freedom but my personal favourites are On The Beach (the title track probably makes it into the fabled pantheon of personal Desert Island Discs), Zuma and Comes A Time. The former two for the lonesome and oft vengeful, part-wounded guitar sounds and the latter for the graceful gentility of every track bar Motocycle Mama.

 

[jamesrfisher]

Echo & The Bunnymen - Ocean Rain

Echo & The Bunnymen

Crocodiles

Heaven Up Here

Porcupine

Guess what's up next?

 

[BIGBERNARDBRESSLAW]

While not adding anything at all to the conversation, I thought I'd join in to the extent of saying which NY albums I own.

Decade

Harvest

Ragged Glory

After The Gold Rush

Comes A Time

3 of which, I've never got around to playing.

 

[stevebrock]

Groove Arrmada - Black Light

 

[Jim-W]

Hi Jim,

Yes, I'm reminded of my own utter uselessness with the guitar whenever I listen to just about any guitar stuff. A long-standing favourite in the dexterity meets tunefulness meets experimental brilliance department is Lion by John Fahey. Also for sheer exuberance his Brenda's Blues.

My high school music teacher used to play The Transfiguraion of Blind Joe Death in our General Studies lessons in sixth form. We'd sit in silence, take it all in and then be invited to talk about the concept of "American folk" music. More silence from us lot, followed by a startling and erudite disquisition by our bearded relic Mr. Bradbury. He also instilled in me an early reverence for Mr. Zimmerman. That teacher would probably be deemed incompetent by today's Ofsted primates. Suffice to say, he was brilliant.

Fear not Jim, my Neil stocks are high on nearly all his LPs. The ones listed previously were those I'd played.

The debut, despite or perhaps because of it's somewhat mangled and strangulated production, carries a certain mystique and aural sensibility that none of Neil's other albums convey. There's something curiously claustrophobic and hesitant about his voice too that further adds to the austere feel.

l really the "remix" of Here We Are In The Years on the Archive box. I'd love to hear the whole album in that form.

Ralph Towner here I come.

Sorry to bore you and everybody else with this reply but i have 'a thing' about the debut solo album. so here's a few points that are, of course, just my opinion. He didn't believe he was any good as a singer at this time, hence the buried nature of the vocals. I've had the remix on vinyl for ages and it certainly allows the guitar to be heard much more clearly and the voice is more prominent too; the whole record is more alive and less claustrophobic. Funnily enough, I much prefer the original mix of 'Here we Are In The Years', one of my favourite all-time Neil songs.I just think, as the Springfield stuff reveals, Neil was a great 'pop' songwriter and this record is perhaps the last time he ventured down this path; I mean sort of pure pop sensibility as opposed to the rock, country and other strange hybrids he'd have a go at later. In many ways I wish he'd not become the guitar-hero kind of rawk guy, although I like 'Ragged Glory' et al well enough. I guess, in short, I like his quirky pop songs best which is why 'Goldrush' is such a great record too. i guess there's the shy guy persona too which seems to infuse these songs and I'm a sucker for that. I often imagine a parallel Neil Young career, made up of brilliantly quirky and eccentric pop records, much like that first album.

I will, no doubt, be shot down in flames for this heresy!

Hi Jim,

There's no anti-inflammatory condemnatory remarks from me!! I like your "thesis". It's always good to have one's own and others' received wisdom challenged or jolted.

A need to ask a few questions though. I'm aware of the existing mixes (two in total, yes?) of the debut but don't know for certain which one(s) I own. Was the former mix deleted? I've got an original looking glossy-sleeved vinyl on the original Reprise label, if that helps. Oh, and there's no wording on the cover, just the pic of NY.

Anyway, I love Ragged Glory and Freedom but my personal favourites are On The Beach (the title track probably makes it into the fabled pantheon of personal Desert Island Discs), Zuma and Comes A Time. The former two for the lonesome and oft vengeful, part-wounded guitar sounds and the latter for the graceful gentility of every track bar Motocycle Mama.

Hi Charlie.

The various issues of the first album is a bit of a minefield, especially the reissues. The fact that yours has no picture implies an original, not a reissue. Does it have a gatefold sleeve with lyrics and a pic of Neil making a cup of tea on the left of the inner gatefold? This latter variant is the reissue or at least this houses my reissue/remix. I've got other variations, but some are German, Canadian or bootlegs. I think the former mix has been deleted which makes it the rarer of the two. On The Beach, Zuma and Comes A time are all in my top 10 Neil records. Comes A Time is such a lovely record but Motorcycle Mama does rather spoil the reflective mood.

Tomorrow, I'll listen to the original and remixed first album and note the differences; it may help you to work out which version you've got although I suspect you have the original murky copy.

 

[Jim-W]

While not adding anything at all to the conversation, I thought I'd join in to the extent of saying which NY albums I own.

Decade

Harvest

Ragged Glory

After The Gold Rush

Comes A Time

3 of which, I've never got around to playing.

I think I laugh at just about everythng you type, BBB. Long may it continue. I don't laugh when your hifi is EDITED though.

 

[BIGBERNARDBRESSLAW]

While not adding anything at all to the conversation, I thought I'd join in to the extent of saying which NY albums I own.

Decade

Harvest

Ragged Glory

After The Gold Rush

Comes A Time

3 of which, I've never got around to playing.

I think I laugh at just about everythng you type, BBB. Long may it continue. I don't laugh when your hifi is EDITED though.

I wasn't trying to be funny (for once).

Anyway, can you guess which 3 albums I've never played?

 

[Jim-W]

While not adding anything at all to the conversation, I thought I'd join in to the extent of saying which NY albums I own.

Decade

Harvest

Ragged Glory

After The Gold Rush

Comes A Time

3 of which, I've never got around to playing.

I think I laugh at just about everythng you type, BBB. Long may it continue. I don't laugh when your hifi is EDITED though.

I wasn't trying to be funny (for once).

Anyway, can you guess which 3 albums I've never played?

I know you weren't trying to be funny, but it was still funny. I think you have a touch of the Tommy Coopers about you: I see the name and I laugh.

My guesses. Is there a prize for this?

Decade

Ragged Glory

Comes A Time