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Post by gazz on Aug 7, 2024 4:09:16 GMT
Yep. Normally, I wouldn't even consider paying that much for a record. But then, it's more than a record, it's a piece of history. Well, maybe next time 🙃 That's how I've seen it with some of my collection, but it's difficult to quickly weigh up the pros & cons when you're actually in a record store with the item in hand, which is something I've not done for a long time.
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Post by hatter_in_macc on Aug 7, 2024 14:21:02 GMT
In other news, I'm resurrecting my 'Rebellious Jukebox' series for a third season, and after a year's absence, in the County programme.
If there's any interest in reading the pieces on here, I can use this thread to post them - starting with my take on a Cambridge-born pop star who is currently owning the summer...?!
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Post by gazz on Aug 7, 2024 14:55:09 GMT
Excellent, Maccy!
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Post by gazz on Aug 7, 2024 17:54:42 GMT
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Post by gazz on Aug 9, 2024 18:57:19 GMT
Now here's a switch, a 2-Tone CD collection! It's called The Compact 2-Tone Story, and comprises 4 CDs and a copy of George Marshall's book 'The 2-Tone Story', which tells the story of the label from beginning to end, with a complete discography. Released in 1993, the first two CDs consist of every 2-Tone single A-Side in release order, with discs 3 & 4 containing every B-Side in release order, including any extra tracks found on 12" versions. I found this one on an eBay auction and managed to win it for £48! Discogs sellers have it listed for twice that and more, so I've really got lucky with this one. I'm seriously pleased with this one, especially when you consider that the book alone would set me back around half the price I paid!
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Post by hatter_in_macc on Aug 10, 2024 10:31:41 GMT
Sneak preview, for those among you who may be interested, of my first programme-piece that will go public this afternoon. I've run it by my kids, who now think I'm 'ultra brat'. No higher praise... ***************************************************************************************************** REBELLIOUS JUKEBOXThe County Rock-Ola returns after a season away for its third series! Hatter in Macc selects Cambridge and presses play to discover a link with, and test the credentials of… CHARLI XCX.So, what’s the connection?She grew up just under a marathon’s distance, and less than a handful of M11 junctions, south of Cambridge in Start Hill, West Essex - but Charlotte Aitchison was born 32 years and eight days ago in the ‘city of perspiring dreams’. And how timely it is that the visit to Edgeley Park of the ‘U’s’ this late afternoon should enable us to re-start the Rebellious Jukebox with Charlotte’s professional alter ego, Charli XCX, whose latest album is, right here and now, inspiring the aesthetic and way of life which is ‘Brat summer’? Oh, but I’m telling you the plot! Let’s ‘Take Five’… 1. MySpace and early mixtapesIt may have fallen by the wayside in the social media sphere during recent years - with no music upload or playback available since early 2022 - but back in the day, between 2005 and 2009, MySpace was the world’s biggest networking site. All manner of artistes - including Lily Allen, Nicki Minaj, Lady Gaga, Katy Perry and Taylor Swift - would see their fame and recognition blossom through exposure on the channel, and for the mid-teen Charlotte, a MySpace page, on which, in early 2008, she posted songs from a album named after the age (14) she had been when recording it, together with a number of other techno dance demos. Although ’14’ was never released commercially, the uploading of its tracks led to her discovery by a promoter who invited her to perform at warehouse raves in East London, where she was billed as Charli XCX - after her old MSN Messenger name, with the ‘XCX’ standing for ‘Kiss Charli Kiss’. She played her first-ever show in a disused peanut factory where the wooden floors came perilously close to caving in. And a handful of singles and two mixtapes would follow in the couple of years after her signing of a recording contract with the Asylum label in 2010. 2. Into the mainstreamSince then, and the release of her debut studio album, ‘True Romance’, in 2013, Charli XCX has become one of pop's boldest stars. Her prodigious output - five more long players, two more mixtapes, three EPs and countless other hits for other acts - has pushed the boundaries of what commercial music can sound like, balancing her undeniable pop instincts with rebellious, alien production. And that versatility has allowed her to straddle two worlds, touring stadiums with Taylor Swift, while cultivating an audience of pop connoisseurs for cutting-edge tracks which hint at all manner of influences ranging from Eurodance, funk and swingbeat through to bubblegum pop, indie, garage and new wave. Little wonder, perhaps, that music critics have come close to exhausting their lexicon of terms with which to characterise Charli’s music: be it punk pop (second album, ‘Sucker’); avant-pop (third album, ‘Charli’, the ‘Number 1 Angel’ and ‘Pop 2’ mixtapes’, and the ‘Vroom Vroom’ EP); hyperpop (fourth album, ‘How I’m Feeling Now’, which in 2020 addressed aspects of her life during the COVID-19 lockdown); and synth pop (‘True Romance’ and fifth album, ‘Crash’). Charli herself claims not to identify with musical genres, and so has publicly rejected media descriptions over the last decade elevating her to the status of ‘hyperpop figurehead’ and the like. But however she may perceive her work, she is doing it well - as evidenced by a plethora of prizes and nominations, and, earlier this year, the prestigious ASCAP Global Impact Award in recognition of her contributions to pop music. 3. CollaborationsToo many to mention from over the years, but they invariably lead to the release of classics. Charli’s 2016 single with rapper Lil Yachty, ‘After the Afterparty’, and later album tracks, ‘Gone’ (2019) and ‘Beg For You’ (2022) - recorded, respectively, with French freak-popster act Christine & The Queens and Japanese experimental pop visionary Ria Sawayama - will surely be among the first songs pencilled in for inclusion in a Charli Anthology when the time comes. Most extraordinarily and recently, this summer, Charli has put out a remixed version of the track ‘Girl, So Confusing’ - featuring introspective New Zealander Lorde, whom the song, on current album ‘Brat’, was said to be about. In many ways, this marks a musical first - inviting as it does a fellow singer to put any rumoured competition/feuding to one side and “work it out on the remix”. Charli has co-written hits for others, too - including Iggy Azalea (‘Beg For It’), Blondie (‘Tonight’) and Selena Gomez (‘Same Old Love’), as well as a Swedish duo whose revving-synth feminist anthem, ‘I Love It’, was handed to them for the most unlikely of reasons back in 2012… 4. Sound to ColourCharli experiences Synaesthesia, a mix of the senses that leads music to be seen as colours - and, while still a 19-year-old relative unknown, actually gave away ‘I Love It’ because it was not of a pleasing hue to her! The song, which included Charli’s vocals but was credited to Icona Pop, became a number one single, which also hit the top 10 in 17 other countries At the time, by way of explanation, Charli stated: “I love music that's black, pink, purple or red -but I hate music that's green, yellow or brown.” Just hold that thought about the hated colours, pop pickers. For 12 years later, a particular shade of yellow-green would be her marketing one of choice, with astonishing results… 5. It’s a Brat, Brat, Brat, Brat World (and we’re all just living in it…)And so, to this summer - which, although far from over, will surely be remembered as not just sounding, but being, ‘Brat’. Charli’s sixth album-proper contains another batch of pop belters that feature punchy beats, booming bass and unbridled fun, built around high art references, social commentary and some rich catchphrase-coining. The long-player’s cover is plain, but in a highly-distinctive lime green which has seen the singer claim the colour as her own - and performance events held as part of the album rollout, together with a viral Tik Tok takeover, ensured that, on its release in early June, ‘Brat’ was guaranteed a reception of fan euphoria, critical acclaim and rampant social media comment. Since then, it has deservedly earned a nomination for this year’s Mercury Prize - but not before ‘Brat summer’, and its embracing of hedonistic and rebellious attitudes, had become a phenomenon in pop culture. Most famously, and perhaps surreally, of all, US presidential candidate Kamala Harris - following a supportive tweet from Charli, declaring “kamala [sic] IS brat” - has rebranded the Democratic campaign’s account on ‘X’, courtesy of a lime green ‘Kamala HQ’ photo in the style of the album cover, and scattered references to ‘Brat’ across the account’s content. A genius move to be down with the youth of America? Keep an eye out for possible fireworks across the Atlantic this November 5th… Rebellious Jukebox Rating: Track TEN.
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Post by gazz on Aug 10, 2024 11:11:47 GMT
Excellent piece, Maccy!
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Post by gazz on Aug 20, 2024 21:54:05 GMT
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Post by gazz on Aug 21, 2024 5:06:23 GMT
I usually update my collection using my phone, and yesterday's was no exception. This means I have to have to keep an eye on the autocorrect of this pile of junk Samsung phone, and yet again it slipped one in! Apparently " I'm amazing condition for its age, and sounds as good as it looks"! Trust me, that really is not the case! Typo now corrected!
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Post by hatter_in_macc on Aug 23, 2024 11:05:11 GMT
Latest Rebellious Jukebox piece done and dusted for the Bristol Rovers programme - with tomorrow's spotlight shining on a Drum'n'Bass legend and genuinely fervent 'Gashead'... ***************************************************************************************************** REBELLIOUS JUKEBOX: RONI SIZEBy Hatter in MaccSo, what’s the connection?Drum’n’Bass legend Roni Size - still in high demand today within the music industry as a producer, and as a live performer globally in his own right - is a Bristolian through and through. Born - as Ryan Williams, a couple of months shy of 55 years ago - and raised in the St. Andrews district of the city, he spent his childhood during the 1970s and early ‘80s surrounded by the carnival flavour of reggae and the burgeoning sound-system scene, before learning the basics about music production at his local youth club, Sefton Park, whose ‘Basement Project’ provided the teenage Ryan with record players, a mixing desk, drum machines and samplers with which to practise. He also grew up as, and remains to this day, a diehard ‘Gas’ fan, and for that alone merits respect - after pipping fellow musical celebrity supporters of Rovers like Portishead mainstay Geoff Barrow and grime artist Jay0117 for coverage in this feature. But Rebellious, too? Let’s ‘Take Five: 1. Earning a KrustHaving proceeded to set up a home studio with his own sampler, the 20-year-old Roni co-founded Full Cycle Records and, subsequently, another label, WTP (‘Where’s The Party’). One of his Full Cycle partners was fellow Bristolian, Kirk Thompson - known by his stage name, Krust - and when DnB imprint V Recordings was set up in 1993, prompted by interest in the ‘Bristol Sound’, its first two releases came courtesy of Krust’s ‘Deceivers’ EP and ‘Agility’, a collaboration which had been put together by Roni and DJ Die after the pair had met in the local Replay Records shop. Both Krust and DJ Die would continue to make music with Roni, as members of a group that, before the end of the decade, would enjoy critical and commercial success, while changing a sound and capturing a spirit for the times. 2. New Forms, New-found FameFounded in 1996, Roni Size & Reprazent, a seven-strong collective in which Roni, Krust and DJ Die operated banks of equipment - leaving the remaining quartet of members to chip in with vocals and live (drums and double bass) instruments - struck gold, or, to be precise in sales terms, platinum, with their debut album, ‘New Forms’. Their 1997 magnum opus, with its meticulously-crafted break-beats that, when slowed down, revealed themselves as hip-hop beats, and with samples of funk, jazz, soul and house also incorporated in the overall blend to produce a rolling groove, redefined the DnB genre overnight. The icing on the cake, which truly conferred household-name status on the group, was the award for ‘New Forms’ of that year’s Mercury Prize. 3. The Beat Goes OnHaving literally produced music in a ‘new form’, Roni had a lot to live up to - and while he would go on to make a number of festival appearances with Reprazent in the summer of 1997, before returning to the studio together three years later to record a second album, 'In the Møde', he also worked with a wide range of other artists. Along with DJ Die and singer Leonie Laws, Roni teamed up with another Bristol collective, Breakbeat Era, to create ‘Ultra-Obscene’ - cited by critics as the first successful vocal DnB album - in 1999, and, during the early years of the new century, he produced vocal collaborations for V Recordings with soul singers Beverly Knight, Jocelyn Brown and Vikter Duplaix, as well as London rapper Rodney P. 4. Size Still MattersTwo decades after the issue of ‘New Forms’ - and some nine years since a 2008 remake, 'New Forms²', was released - Roni, during 2017, launched a groundbreaking new audio/visual live show that featured instruments and hardware with 3D-effect projection mapping. Since going back on the road, whether touring the show or DJ-ing at clubs and festivals around the world, the man from Bristol has showed no signs of slowing down, whilst an appreciative new generation has been able to experience and enjoy the legacy he created for DnB. Roni remains relevant through fresh output, too - ‘Calling’, his 2019 collaborative track with Rag’n’Bone Man, was selected as the sound of the summer, and broadcast repeatedly, that year by Sky Sports - as well as his continued contributions closer to home in support of charity projects and Bristol’s grass-roots music scene. 5. Life’s a GasThere’s only one team in Bristol so far as Roni is concerned, having attended his first match at Rovers’ former Eastville Stadium at the age of seven, and, from time to time as a youngster, being forced on match days to sit by the M32 watching traffic speed by the ‘Ville, because he couldn’t afford to get in and watch. Decades later, in 2013, he would get to turn out for the club, alongside the likes of Geoff Barrow, in a charity match against rivals Bristol City. And even more recently, just a couple of months ago, he turned out at City’s Ashton Gate ground! But lest there should be any suspicion of footballing treachery involved, this was a case of him taking to the stage, rather than to the the pitch, to perform a set as part of the midsummer multi-music extravaganza, ‘Ashton Gate presents BS3’. Proof, if proof were needed, of Roni’s continued pride in his Bristol origins and commitment to giving something back to the city that raised him - but when it comes to ‘the Beautiful Game’, his colour of choice will be forever blue! Rebellious Jukebox Rating:… L-EIGHT Morning.
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Post by gazz on Aug 27, 2024 15:32:59 GMT
Oasis.
About f***ing time - nuff said.
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Post by woznorthyorksexile on Aug 29, 2024 7:39:32 GMT
Oasis. About f***ing time - nuff said. Here's an alternative (rather spiteful) little piece from the Guardian. It might have saved a lot of trouble had the author started with "I don't like Oasis because....." www.theguardian.com/commentisfree/article/2024/aug/28/stop-the-celebrations-oasis-are-the-most-damaging-pop-cultural-force-in-recent-british-historyI saw them last in 2005 at the City of Manchester Stadium as it was still known and it was a great night. I've no interest in seeing them again because it seems to me that they are most definitely a product of their time and some at least of their music, hasn't travelled that well but I could also say the same of some (say it quietly) of the Beatles music for example. That hasn't stopped me having a number of Beatles albums in my collection. Having said that, over the course of the tour, tens of thousands of people are going to have a fantastic night and no doubt many will be wallowing in nostalgia because ultimately, music is a noise and you either like it or you don't and if you do, it takes you back to the moments you enjoyed whilst listening to it. As for the author's critique of the attitude of the principle members of the band well, he may have had a point that I could have sympathised with had he not indulged in a spot of willy waving over how poverty stricken his own upbringing was in comparison to the Gallagher's in "leafy" Burnage. However, he plumbs the depths when he suggests that, as a result, the audiences are probably supporters of Reform UK is to indulge in the kind of fact free mud slinging generalisation he would no doubt deplore were I to indulge in the same behaviour based on his photograph appended to his piece. Right, I'm off to spite the clown by listening to Definitely Maybe although I will be careful not to bring down the pillars of popular culture whilst indulging my far-right fantasies.
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Post by gazz on Aug 29, 2024 9:17:22 GMT
I think the thing with the Gallaghers is that they have personas that they feel they need to maintain, in order to stay relevant.
Liam just acts like a tw## because he needs to feel needed, and Noel talks shite because he knows that if he didn't, nobody would talk about him.
I call it the Mourinho effect, especially with Noel. At first what he said in interviews was quirky and made for good reading, but he got away with it because he backed it up with trophies.
When the trophies dried up, he felt even more compelled to stay relevant and the rants became even more random, so all we were left with was a moaning c*** that keeps getting the sack and is making a living off the massive pay-offs.
Nobody talks about the High Flying Birds, the only people that give a sh*t about them are their hardcore fans, they're not front page news, and that's what Noel is desperate for.
Either one or both of them probably need the money, because there's no way that it's got anything to do with the fans and what they've always wanted.
I think your Beatles comparison is spot on, mate. Some of their stuff is brilliant, some of it just 'Oasis' and the rest of it is just forgettable - but there's no denying that their best stuff is f**kin epic.
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Post by gazz on Aug 29, 2024 9:25:14 GMT
Actually, I'm doing Liam a disservice there, because I genuinely think he cares about his fans, so I think his reasons are at least genuine to some degree.
He showed that when he turned up to perform for victims of the Arena Bombing in Manchester, so I'll take that back - Liam does give a sh*t.
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Post by woznorthyorksexile on Aug 29, 2024 11:03:41 GMT
I think the thing with the Gallaghers is that they have personas that they feel they need to maintain, in order to stay relevant. Liam just acts like a tw## because he needs to feel needed, and Noel talks shite because he knows that if he didn't, nobody would talk about him. I call it the Mourinho effect, especially with Noel. At first what he said in interviews was quirky and made for good reading, but he got away with it because he backed it up with trophies. When the trophies dried up, he felt even more compelled to stay relevant and the rants became even more random, so all we were left with was a moaning c*** that keeps getting the sack and is making a living off the massive pay-offs. Nobody talks about the High Flying Birds, the only people that give a sh*t about them are their hardcore fans, they're not front page news, and that's what Noel is desperate for. Either one or both of them probably need the money, because there's no way that it's got anything to do with the fans and what they've always wanted. I think your Beatles comparison is spot on, mate. Some of their stuff is brilliant, some of it just 'Oasis' and the rest of it is just forgettable - but there's no denying that their best stuff is f**kin epic. I suspect that you are quite right. I imagine that not being in the limelight anymore can be difficult to accept to those who have had it and loved every minute of it, Liz Truss providing a current example. Who cares what their motivation is? Like I said, no doubt everyone with a ticket will have a great evening, an evening they will remember long after the snarky mutterings of a journalist called Simon Price, a journalist few will have hitherto heard of, are forgotten.
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