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Record Collector

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Is
it Friday already? Time flies when you’re enjoying the glorious sunshine of
spring, and you’re thinking about 50s rock and why it is so underrated? Well,
OK, it ain’t sunny, but I was thinking about the 50s. If you had to pick
a decade for music, which would it be? We have a lot of requests for more 80s
stuff in the mag, the 60s and 70s have been our bread and butter for years now,
and it’s generally held that the majority of even quite rare 50s records aren’t
as in-demand as they were, although there are some major exceptions to that.
Those of you who aren’t young and swinging like me might be surprised to know
that a lot of tunes played in Britain’s, er, alternative clubs, are from the
50s, albeit more R&B than outright rock, although the latter does figure,
to some extent. Plus there’s the swing thing in London’s trendy Hoxton… three
words that once upon a time I never thought I’d type in a row. London’s.
Trendy. Hoxton. It just goes to show how things change. Once, Hoxton was an
area where you feared to tread, unless you were local. Now even adjoining
Dalston has gone groovy. When that happens, we’re really Up The Junction.
Which, incidentally, is also trendy. In the late 70s, I used to play in
a pub band in London’s not-quite-ruined-yet Bethnal Green, in which the drummer
was Ricky Stevens, a Hoxton resident. Every gig, he’d sing his hit. He had a
fantastic voice, but it was irretrievably linked to its era and, despite a
more-or-less Northern soul-styled update in the 70s, Ricky never got another
decent chart placing. Whatever happened to singers with voices like that? Was
it something that died out with the addition of fluoride to water? They just
don’t exist now.

Returning
to the modern world – as much as I ever do – I am really taken with the Dexter
album, The Trip, a 60s psychedelic experience filtered through a current
DJ-producer’s eyes. Have a listen to this, although it’s
by no means the best thing on the record. I’ve also been absorbing uk decay’s
New Hope For The Dead, an updating of punk that is impressively
ambitious and powerful. And a band I’d not heard of, The Spitfires, sent
a promo email for their new single, and I was very taken with the B-side, Words
To Say, although you can’t hear how good it is on their website as yet. But a
young, rough, mod-styled band to watch, if the single is any indication.

We’re
still getting letters about Record Store Day, one or two of which will be in
the next issue of RC. If you’re seeking modern collectables, we’ve got
just the thing for you: a Fruits De Mer album, Plankton, which we’re
releasing in a limited edition, timed to go with our Psychedelic All Dayer
on 10 August. Details elsewhere on this newsletter… a rocking, mesmerising time
is a certainty…

Thank
you for reading this, and RC. Have a great week,

IanMcCannSig
Ian McCann, Editor Record Collector

 

IN THE CURRENT ISSUE:-

Bob Dylan's recent reissues and obscurities explained, including Sony’s
100-copy album.

Folk legends Tom
Paley
and Spider John Koerner talk about the Dylan that they knew.

One of the hardest bands
to classify of the prog era; we tell the tale of Medicine Head.

Story of the US
hard-driving rock stalwart, Bob Seger.

30 years on the outside for Criminal Damage Records.

Tull guitarist Martin
Barre
on his solo career, and news about the band.

Nektar's blend of space and prog rock continues
to blossom.

Plus The Focus Group, Four Tops, Vandellas, The Moody Blues, Nikki Sudden,
Laura Marling, Steve Winwood, Therapy?, The Orb…

 

 

 

 

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