Tag Archives: Ltd Edition

Latest Update – 04/08/2018

 

 

Just uploaded – a veritable smogasbord of the good, the bad and the downright bloody awful of the 7″ World. There’s some great soul, some brilliant disco, some splendid synth pop and also some right ole shite.

I don’t judge buyers and have been doing this long enough to know that taste is unguessable so feel free to purchase without judgement because I love all my customers – unless, of course, Tommy Robinson wants to buy something…

 

 

Slade:  C’est La Vie    1982  7″
Lou Reed:  Sweet Jane   1974  U.S   7″
Paul Dale Band:   Alright On The Night   1981  Clear vinyl   7″
Living Colour:  Cult of Personality    1988  Near Mint   7″
Living Colour:  Love rears its ugly head    1990  EX+   7″
UB40:  The way you do the things you do   1991  EX   7″
The Perfect Disaster:   Time To Kill   Near Mint  7″
Penny Ford:   Change Your Wicked Ways  EX    7″
Mtume:   Breathless    Promo   1986  EX+     7″
Sandy McLelland & The Backline:   Like A Hurricane   1978  EX   7″
The Mixtures:   The Pushbike Song   1970  Australian   7″
Two Little Boys/Court of King Caractacus: 1970 MFP Childrens  7″
Hank Mizell:   Jungle Rock   1976  Charly   7″
Fleetwood Mac:  Albatross     1972  EX+     7″
Terra Cotta:   To Be Near You   1978  NWOBHM  self released  EX  7″
The Emotions:   Flowers (Remix)  1990  EX    7″
The Force:  Shout    1987  EX+     7″
R.A.F:  Woman Like you   1986  EX+  Aura   7″
Terry Oldfield:  Theme From  John Silver’s Return To Treasure Island   7″
Swimming With Sharks:   Careless Love   EX   7″
Swimming With Sharks:   No Longer Friends    EX+  PROMO    7″
The Wurzels:  Combine Harvester (Brand New Key)   1976  EX+   7″
The Wurzels:  Farmer Bill’s Cowman   1977  EX+   7″
The Wurzels:  The Tractor Song   1978  EX+   7″
Adge Cutler & The Wurzels:  Scrumpy & Western    1967  EX   7″
Dylan Thomas:  Reading Ballad Of The Long-legged Bait   1959  EX+  7″
Steve Harley (Cockney Rebel):  Make me smile  1975  EX  7″
Stoney And Meatloaf:   What You See Is What You Get   1971  U.S   7″
Santos:   Your Wish Is My Command   1989  EX+   7″
Jocelyn Brown:   Freedom   1990  PROMO  Near Mint 7″  + press release
Miquel Brown:  So many men so little time  Promo 7″  + postcard
LaTour:   People Are Still Having Sex     EX+   7″
The Mission:  Like a child again  EX+  7″
Gary Numan:  Music for Chameleons   1982  EX+   7″
Gary Numan:  I die You die  1980  EX+   7″
Thunder:  Gimme some lovin’   1990  Near Mint    7″
Gross Brothers:   Keep On Dance Forever  1979    Portugal  EX+     7″
Stranglers:  Golden Brown   1982    EX   7″
Richard Hartley/Michael Reed Orchestra:  Music Of Torvill & Dean    EX+    7″
Yannis Markopoulos:   Who Pays The Ferryman?   1977  EX   7″
Hooray And The Henrys:   All Stuck Up   1983   Near Mint    7″
Paul McCartney:  Spies Like Us   1985  EX+     7″
Paul McCartney:  Pipes of Peace   1983  EX     7″
Paul McCartney:  Only Love Remains   1986  EX     7″
Paul McCartney:  Take It Away  1982  EX     7″
Paul McCartney:  No More Lonely Nights   1984  EX+     7″
C + C Music Factory:  Things That Make You Go Hmmm…  Near Mint UK   7″
C + C Music Factory:  Just a touch of love  Near Mint UK   7″
The Rubber Ducks:   Pop Club Convoy   1976  Daily Mirror  7″
Cover Up:  Love the one you’re with   1985   7″    Asia
Leon Haywood:   Party  1977  DEMO   EX+   7″
Willie Alexander & Boom Boom Band: You’ve Lost… 1978  DEMO   EX+   7″
Everything but the girl:  Twin Cities  Near Mint  Promo  7″
E-Zee Possee:  Breathing Is E-Zee   EX+    7″
Carl Cox:   I Want You (Forever)  1991  Near Mint    7″
Shooter:   Moneymaker   1978   EX+  DEMO Powerpop    7″
Brothers In Rhythm:   Such A Good Feeling   1991  Near Mint   7″
Kings Of The Sun:   Black Leather     Near Mint    Promo  7″
Frances Nero:   Footsteps Following Me    UK PROMO  7″
Frances Nero:   Making my dreams real    Near Mint   UK PROMO  7″
Go Fundamental:   People On The Top Floor   EX+    7″
Kalin Twins: When    1982  Near Mint Old Gold    7″
Champs Boys:   Tubular Bells   1976   Near Mint  7″

 

Amanda Cooper:   Wasted Chances   1990  EX+   7″  
Slow Bongo Floyd:  More than Jesus   1991  Near Mint   7″  

Cassette(s) of the Week: 6 fantastic Colin Potter tapes

Apparently, according to various newspaper articles and hipster blogs, the cassette is on the way back – just like in all those boring blogs about vinyl that have been buzzing around for the last few years. 

Now, just like vinyl, we all know that cassettes never really went away – they have been consigned to a dusty attic but people didn’t get rid of them in the way that they did with vinyl – mainly because most of them were worth bugger all.

 

 

Colin Potter released all these splendid lumps of Krauty electronica back in the early ’80s but they were reissued for Cassette Store Day(!) in 2014 in a limited edition of 60. When these flew out the doors in a matter of seconds another 60 of each were produced with different coloured inlays/tape labels, and this is the full collection here. The individual titles are ‘The Scythe’, ‘A Gain’, ‘Two Nights‘, ‘The Where House‘, ‘Here‘ & ‘The Ghost Office‘ and all come massively highly recommended by me.

 

There was a thriving DIY tape culture for this type of thing in the early ’80s and the importance of the humble cassette in the post punk era cannot be overstated – the simple process of recording and copying the tape meant a huge amount of bedroom musicians found their music getting exposure all over the World.

This is, of course, much easier to do nowadays with the internet, file sharing and the ease of the  CDr but this is where it all started – so jump on board and get yerself a bit of musical history……or just grab yerself some fucking great music.

Record of the week: Richard Youngs – Arrow Ltd Preserved Sound LP/CD

 

This only arrived this morning but I have lived with it on constant rotation all day whilst sorting out the large delivery of noodles* that were also delivered at the same time, as well as a few hundred dreary 7″s that I have been putting off sorting for weeks. When you read the description of the album:

Recorded especially for Preserved Sound in Hebden​ Bridge, ​Arrow is sound of Richard Youngs alone at the piano, embellished with sparse drums and an old organ. This collection of solo improvisations is all about capturing the moment – that piano and that afternoon in Hebden Bridge.
“I sat down at the piano and just played,” says Richard. “No preconceptions, nothing worked out. I wasn’t trying to achieve anything other than to enjoy playing the piano.” “There was also an organ in the room, so there are touches of that. I then took these back to Glasgow and knocked it into shape – a few overdubs, nothing drastic.”

you could be forgiven for feeling that the album is as much a noodle-fest as my kitchen but, in reality, it is far away from that (thankfully!).  There are  layer upon layer of sounds, instruments and harmonies on top of the piano improvisations and it is these other elements that keep the level of interest high – and the level of enjoyment even higher. It occasionally sounds thrown together haphazardly, but this is no bad thing – as it keeps you guessing as to what exactly is gonna happen next and rarely follows a linear pattern that one would normally expect from similarly ‘improvised’ piano based albums.

 

It also sounds like he was having a lot of fun making it.

This is yet another fantastic release from Preserved Sound and follows their normal high degree of artistic quality control of both the music and the hand assembled packaging. Limited to 300 numbered copies on both Vinyl & CD, this one promises to disappear pretty rapidly as it’s such a magnificent piece of work.

At times (especially during side 2) it sounds like 2 Steve Reich albums are playing at the same time whilst somebody sits in the corner gently wrestling with a piano – and you can’t get a much higher recommendation than that can you?

 

 

 

*Re: Noodles:    i’m not running a chinese takeaway or anything – I just eat a lot of noodles and stumbled upon a fantastic website catering to all my noodle-based needs and ended up buying 70+ packets from them. Go here if you’re interested:

https://www.orientalmart.co.uk

Record of the week: Massive Attack ‎– Heligoland NEAR MINT deluxe 3XLP 2010


20+ years ago I worked in a Bristol Housing Association and Massive Attack’s Grant ‘Daddy G’ Marshall was one of our tenants, which I always thought was taking the piss rather – being as he was a big top pop star and all that.

 

My housing-related gripes aside, I was a massive (!) fan of the band (still am actually) and this is my favourite album of theirs – featuring vocals from Tunde Adebimpe, Martina Topley-Bird, Horace Andy, Guy Garvey, Damon Albarn and the absolutely gorgeous Hope Sandoval (who called me a cunt once, in a case of mistaken identity!).

This is the very rare 1st pressing 3 disc edition with the following special selling points:

Housed in a unique black-glitter coated triple gatefold sleeve, this deluxe edition includes:
• Two 180-gram heavyweight vinyl records, containing the 10 tracks comprising ‘Heligoland’, crafted on the legendary EMI 1400 in Hayes, Middlesex.
• Exclusive bonus 180-gram heavyweight 12″ vinyl, containing four additional new Massive Attack tracks and remixes
• Exclusive 28-page booklet, featuring new Robert Del Naja artwork and Massive Attack tour photography.
• CD, containing the full album, housed in a black pochette, with a black-glitter coated cover.

 

Cassette(s) of the week: 3 Lovely box sets from Folklore Tapes

3 brilliant box sets from the incredible Folklore Tapes label have just been added:

  1.  The Lost Tapes Record Club ‎– EP03

Limited to 75 copies.  Numbered box set in an edition of 75 copies includes green cassette, inlay card, berry, photo slide in a sealed envelope and unused download card.

 

Part 3 of a series of four EPs curated by members of the band Clinic and presented by the Lost Tapes Record Club. Containing tracks pertaining to a unique project based around ethnographic radiolore and  surrounding the Dorset town of Symonsbury, showcasing a patchwork of randomised recordings of unknown vintage origin.

Presented in bespoke embossed boxes with unique conceptual inserts, echoing previous playful ‘intermedia’ works and happenings from the New York based Fluxus art group during the 1960s/70s.

 

Tracklist:

1. Nuclear War by Urban Collector (Rubber Jonathan OST)
2. Five Four by Professor Isaac Turton
3. Hotel by Laurie Carroll
4. Stylophone Interlude
5. Resistance by Oscar Boothroyd
6. Harvest Festival Interlude
7. Sniggery Wood by The Burrymen Four
8. Heartbeat by JellyRoll

 

2) Folklore Tapes Calendar Customs: Fore Hallowe’en

 Limited to 250 copies.

Box Contains:
Orange Cassette
24 page booklet
Poster
Pumpkin Seed
Unused Download Code

Folklore Tapes is the perfect label to address the observance of Samhain, as its primary focus is the preservation and dissemination of buried tales.  Folklore is more than just stories; at times it contains hidden truth.  The label’s last release, Theo Brown and the Folklore of Dartmoor, brought the point home through copious research and beguiling music.  Their latest release does the same via a 24-page booklet and the contributions of ten recording artists.  As the first installment of the Calendar Customs series, it’s a clever start, in line with the label’s mood of mystery.  Just don’t expect a happy Christmas tape anytime soon.

The booklet is a delight, filled with black-and-white photography and Hallowe’en lore.  One may read about the origins of the jack o’lantern, the symbolism of the female vampire, and a method through which one might identify one’s true love with an apple and a mirror.  Care to know which members of your parish are slated to die over the next year?  This tape may come in handy.  The same is true should one need a spell to counteract witchcraft.  Believe you don’t need such things?  Fine, don’t order the tape.  It’s easy enough to dismiss such tales as superstitions from the time fore Hallowe’en.  

As might be expected from a multi-contributor work, the selections are a bit uneven, but the overall effect is powerful.  The footsteps in the forest of “Domnhuil Dhu” are evocative ~ until interrupted by a seal-like voice warbling, “God is dead.”  Although true to the subject, a subtler touch might have been more effective.  And the sweetness of “Derwyn Adwy’r Meirwon” undercuts the otherwise unsettling nature of the collection.  But these tracks feature early in the mix, allowing a subtler, more disturbing spirit to enter midway.  Ian Humberstone’s “The Summons of Death” is a great mood-setter, dominated by a sinister wind in the first half, dark bass and psychedelic guitar in the second.  Eva Bowan’s vocals on “Aos Si” sound as if they have been stolen from the fairies, who would not have recognized field recordings, regarding them as dark magic.  While such creatures often aided the living, they were known to be fierce when provoked.

Field recordings, filtered choirs and chanting children join hands on “Punkie Night”, an always unsettling combination.  As the tape proceeds to unwind, one feels the spirit world drawing near.  Ritualistic elements descend like incantations; sacrifices are thrown in the fire; singing ceases.  The night is ceded to the spirits, some seeking revenge, others peace.  Side B lacks vocals.  With human elements removed, the spirits are free to frolic (Bokins’ “Taskmaster, Trickster, Troublemaker”), to haunt via magnetic tape (Children of Alice’s “The Liminal Space”), and to rattle chains, wind music boxes and spin bicycle wheels (Mary Stark’s “Nos”).  Annabelle has nothing on these creatures.  The past doesn’t care if we consider it folklore; malevolence will have its way.  So if you feel a chill on the back of your neck this evening, don’t worry; it was probably just a vengeful spirit.  (Richard Allen, acloserlisten.com)

 

3) Lancashire Folklore Tapes Volume 1: Pendle, 1612

 limited to 200 copies, the tapes are packaged in a screen printed heritage library buckram box which houses information and ephemera related to the trials: a map, photographs, an essay by the curators, and a dried nettle in glassvine envelope as well as an unused download code; also includes handwritten note from Rob St John

Curated by Rob St John and David Chatton Barker, ‘Pendle, 1612’ is the first release through the new Lancashire Folk Tapes imprint, following the continuing Devon Folklore series of limited edition tape releases exploring British folklore.

This release is a commemoration and remembrance

 

 to the Pendle Witch trials – a reminder of the rich, dark and entangled histories that are increasingly paved over and forgotten by contemporarycelebrations.

Tracklisting:

RSJ
1. Drcarlsonalbion And The Hackney Lass – Thee Betrothal of Alizon Device.
2. Dean McPhee – Rule of Threes.
3. Tom Western – Alice Nutter.
4. David A Jaycock – Black Malkin Tower.
5. Rob St.John & The Coven Choir – The Mandrake.

DCB
1. Bridget Hayden – Music In the Rocks.
2. Magpahi – The Power And The Glory.
3. Mary Arches – Hex Snoxums.
4. N.Racker – A New Maleficium.
5. Joe Duddell – Pendle Elegy.

Record of the week EXTRA: Jonas Reinhardt ‎– Conclave Surge ltd edition LP

I listen to a LOT of meditative minimalist electronic music – which is a good thing, as I’d be a bloody nightmare to be around if I spent my life surrounded by bouncy happy groovy music. This helps keep me relatively grounded, relatively chilled and relatively sane but sometimes I need an extra layer of frisson on top of my ice cream cone of minimalism – a great big chocolate flake of extra sounds to bounce me out of my daily trance.

I honestly don’t know where the fuck I was going with that metaphor but I’d like to think this fantastic Jonas Reinhardt album is a veritable 99 of ice creamy musical excitement (oh shit, I’m going off on that tangent again…). It has the beautiful electronic droney minimalism as its bedrock but chucks slabs of noise, loops and rhythms on top/underneath/by the side.

I love the fact that it continuously surprises me with the musical twists and turns, even though I’ve played it about 40 times and it seems to change as it moves along – like it’s evolving by the day. It is released on the always fantastic Deep Distance label, the older Brother to the equally great Polytechnic Youth label – and i’d recommend the shit out of pretty much EVERYTHING on those labels.

And now I want an ice cream. A Hockings ice cream in fact (local Devon ice cream), with a flake and a big dollop of clotted cream on top. More so than I want to write about music, that’s for sure – so I’m off now…

 

Record of the Week: Bark Psychosis: Black Meat Orig UK 2005 Ltd NEAR MINT 10″

Ah, Bark Psychosis – the band for which the term ‘Post Rock’ was invented and the band who introduced me to the art of silence in music.

I first discovered the majestic music on the B side of a Spacemen 3 flexi in the late ‘80s and, to be honest, I thought they were a bit shit – noise for noise sake and, as a huge fan of Swans, they sounded like pretenders to the noise throne.

It was the 4th single that blew my tiny mind though. ‘Scum’ was a 21-minute-long track where very little happens for a very long time, and where the acoustics of the crypt (where it was recorded) are as important as the sparse instrumentation. It remains, to this day, one of my all-time favourite pieces of music.

I saw them live only once, just after their sublime debut album (‘Hex’) and it was on the sad day that Labour’s John Smith died (I remember distinctly that that they introduced ‘Blue’ as ‘Blues for John Smith’). They played by the light of a Super-8 projector and made a huge noise that sounded nothing like the LP they were promoting. They were outstanding.

This record was released 11 years after the aforementioned gig, when the band were mostly a solo project of Graham Sutton, but still displays how utterly inventive they/he was – trumpets and jazz drumming and half-heard vocals. Limited to 500 copies, and I’ve got 3 of ‘em…

 

Latest Update 10/05/18

Just added – a veritable feast of gorgeous LP’s, 12″s, 10″s and weird shaped discs to delight and excite even the grumpiest of people.

From Blondie to George Michael via Sandie Shaw & Commodores white labels.

From Bark Psychosis, Liars, Bardo Pond, Shake and Oscar Peterson 10″s to Venus Fly Trap, Nina Simone, Thrum & Gumball 12″s via Runaways, Spearmint, Queen & War of the Worlds albums.

Plus discs shaped like pigs, crosses, arrows and cubes.

All life is here:

CLICK ME FOR EXCITEMENT!

 

Record of the Week: Neil Young: Broken Arrow Very Rare 1996 European 2XLP

The third brilliant life affirming Neil Young & Crazy Horse studio LP in a row (after ‘Ragged Glory’ & ‘Sleeps with Angels’), this 1996 album suffered from lack of success due to lack of media interest (it was all late period Britpop rubbish around these parts at the time). When you give it some time you actually realise that it’s a fuzzed out masterpiece showing Neil & da Horse at their rough rockin’ best – dirty and scuzzy and bloody fantastic. Apart from the last track, which is a live track seemingly recorded on a broken cassette recorder inside a bucket of water in the room next door to the concert hall.

 

As was the case in the mid/late ’90s, this had barely a release on vinyl at all (more a rumour than an actual release to be honest – some studio exec at Reprise read the small print on Neil’s contract demanding a vinyl release and put it out just to shut the old buzzard up) and so is pressed on ultra thin vinyl that sounds way better than it should (less 180gm, more like Dynaflex+).

Nonetheless, this double album packaged in thin card  non gatefold sleeve (with a  insert that doesn’t really warrant a mention) also includes a non CD track recorded during the ‘Ragged Glory’ sessions – ‘Interstate’ and is absolutely fantastic. It beggars belief why it wasn’t included in the first place, especially as the aforementioned crap sounding live track could’ve been left in the box marked ‘sub standard bootleg shite’.

But that’s Neil for you – doing what the hell he wants how he wants and when he wants, and that’s why we love him. The ragged old goat. 

 

Record of the Week: Devo: Q: Are We Not Men? 1979 Picture Disc LP

In late 1979 I had just started big school and my pencil case was already covered with logos of the Pistols, Clash and Sham 69 when I met another kid of the same age who told me that his favourite band was Devo. The name was vaguely familiar from the pages of Smash Hits but I didn’t know what they sounded like so he lent me this album. I took it home and played it on my dansette (I wouldn’t get a ‘proper’ record player ‘til Christmas ’79) and instantly hated every second of it. The stupid vocals and stupid rhythms and stupid other sounds just irritated the tits off me and I took it back the next day, telling him that I thought it was ‘alright’ (I was still weighing up cool points so didn’t want to pour scorn on it in case it turned out to be something cool).

Fast forward another 12 years or so and a girlfriend moved in with me, which led to the merging of record collections and the reappearance of this in my life. I remember telling her how much I hated it and she begged me to open my mind and try again, sitting me down and putting it on.


2 minutes into the first track I was hit by a thunderbolt and I suddenly got it – I finally understood what they were trying to do and that the staccato rhythms weren’t as stupid as my 12 year old mind had originally thought. The vocals were still pretty damn goofy but at least the keyboard sounds were more enjoyable than they were in 1979

But I still hated it and told her so (I thought their version of ‘satisfaction’, in particular,  was one of the most irritating pieces of music in existence). The relationship was doomed from that day on.


Now, all these decades later I actually don’t mind it, although I wouldn’t jump at playing it very often – at some point in time I actually ended up with a copy of my own but, for the life of me, can’t recall where it came from. I still feel the same way about ‘satisfaction’ though.

This particular copy is the bee’s knees/mutt’s nuts/pollock’s bollocks edition of this misunderstood (by me) album –being a gorgeous picture disc in a die cut sleeve with original insert AND original flexi (it’s good to see that Virgin used the least 2 audiophile
methods of playback here – 70s picture discs and flexis didn’t exactly produce
crystal clear playback) all in fantastic condition.

So don’t listen to me – get it yourself and be waaaaaay cooler than me.