Posts by Stephen Wilky:
The Definitive Guide to Rock Vinyl Revival for Rock Connoisseurs Everywhere
Vinyl records have made a comeback over recent years and rock connoisseurs can no doubt see its importance. We will cover everything there is to know about Rock Vinyl Revival here:
- what it is
- why it matters and
- how to become an expert connoisseur
for Rock Connoisseurs Everywhere
Understanding The Rock Vinyl Revival
Rock Vinyl Revival refers to a renewed interest in vinyl records among younger generations, especially among millennial’s. Vinyl records were once the main form of music consumption but with CDs and digital streaming replacing vinyl records, their popularity diminished over time. Now however, resurgent interest is being shown towards vinyl records as part of the revival trend. *
Recently, vinyl records have made an incredible comeback, with sales rising every year since 2005. Rock Vinyl Revival stands out as an alternative way of listening that cannot be replicated via streaming or CDs. Digital music cannot offer this unique experience. **
How to Become a Rock Connoisseur
In order to become a vinyl connoisseur, one should begin at the basics. Acquaint yourself with different genres of rock music as well as its most influential artists within each. Research different eras spanning from mid 1950s (rockabilly/rock ‘n’ roll is generally regarded as the start of ‘modern’ music) up to modern day rock, exploring cultural and social contexts of each.
Once you understand the history of rock music, you can begin building your vinyl collection. Do your research and read reviews on different albums before selecting which ones should become part of your library.
Start off by investing in quality turntable and speakers; this will ensure the highest sound quality when playing back vinyl records. When purchasing vinyl records, always look for high-quality pressings over reissues which have not been well mastered. ***
Attend record fairs to discover rare or hard-to-find records that will add variety and depth to your collection.
Some of The Joys of Rock Vinyl Revival
One of the key aspects of the Rock Vinyl Revival is its distinct listening experience. Vinyl records provide warmth and depth of sound that digital music cannot match.
Listening to vinyl records allows you to experience music as it was intended -one side at a time- without being affected by digital manipulation and compression.
Rock Vinyl Revival also has a social side. By attending record fairs and events, it gives you an opportunity to meet like-minded music enthusiasts while building bonds among family and friends through listening to vinyl records together.
Rock Vinyl Revival’s main challenge lies in its cost. Collecting vinyl records can be an expensive hobby, particularly if you are searching for hard-to-find or rare titles.
Some original vinyl albums from say the late 1960’s and early 1970’s can be very expensive indeed. This is particularly true of the progressive, psychedelic and folk genres. In some cases, such records can sell for over £1000 each.
Some of these titles have now been re-issued/re-pressed and can be acquired from specialist stores like -RVR- for around £20-£30 each like the Battered Ornaments and Czar albums below.
Be savvy. There are ways around this challenge! Search thrift or second-hand stores and garage or car boot sales for used records that might give you what you are looking for. Be patient while searching for rare records. Join online communities or forums where collectors share records they want to trade or sell, to increase your odds of success.
Storage can also be an issue. Vinyl records take up a lot of space, making it imperative that they are stored appropriately. Consider investing in high-quality record storage solutions to protect them from being damaged over time. Avoid storing in a damp place like a garage.
The Future of Rock Vinyl Revival
The future is looking promising for vinyl records as sales increase year over year. As more people discover vinyl records’ joys, we should see an uptick in production as well as increased efforts in the preservation of older albums.
As our industry evolves, new technologies will likely appear that will enhance vinyl listening experiences such as new turntable designs or improvements to vinyl pressing technology. Rock Vinyl Revival’s future holds endless potential for growth and innovation!
As is often the case, growth and popularity come with their own set of difficulties. Vinyl records increased mainstream acceptance can increase their risk of becoming over commercialized and less focused on passion and artistry – both hallmarks of success for vinyl records’ existence. Historically, ‘serious’ rock bands are generally revered over the ‘pop’ top 40 commercially created type artists.
As part of its authenticity, it’s vital that the vinyl industry keeps the focus on music and the experience of listening to vinyl records.
What have we discovered? That Rock Vinyl Revival is an impressive phenomenon that is only growing more popular. It provides an immersive listening experience that cannot be replicated digitally and allows listeners to connect with music through tactile means as well as nostalgia.
Becoming a Rock Vinyl Connoisseur can be an extremely fulfilling and enriching experience that allows you to discover more about rock music’s history and culture while forging relationships with similar-minded individuals.
Although there may be challenges associated with the Rock Vinyl Revival, such as cost and storage issues, solutions exist and its future looks promising.
No matter your level of experience in vinyl records or music listening, Rock Vinyl Revival invites you to experience its joys! Come explore its world.
What do you think?
What does it take to become a Rock Connoisseur?
Leave your comments below and share your experience
*1989/1990 saw CD album sales overtake vinyl LP sales for the first time. The early 1990’s saw less vinyl LPs pressed as they were seen (at the time) as old school technology with CDs being seen as the future. Consequently, many titles from the early 1990s are hard to find on vinyl and sometimes attract higher prices for this reason.
**Collectors also appreciate the sleeve packaging. Some have gatefold (opening) sleeves, booklets, lyric sheets and posters inside. Some records are pressed on coloured vinyl or as a picture disc
*** 180g or 220g vinyl records tend to improve the signal to noise ratio-better music and less static and distortion. On the record below, the label shows that this is a 180g pressing. (By coincidence, it is also remixed)
Pink Floyd Animals 2018 Remix It
1 REVIEW FOR CRAMPS – SONGS THE LORD TAUGHT US – LP RECORD VINYL ALBUM
New stock just in by Bathory, Babyshambles, Black Sabbath, Blondie, Brinsley Schartz, Bread Love and Dreams, Clash, Coldplay, Danzig, Dr Feelgood, Egg, Hawkwind,Humblebums, Interpol, Incredible String Band, Wilko Johnson, Joy Division, Madness, Marilyn Manson, John and Beverley Martyn, Nirvana, Pearl Jam, Pink Floyd, Queen, REO Speedwagon, Smiths, Soft Machine, Strokes, Suicide, Sum 41 and Van Halen. Information correct as of 12th September
PS – Since this post was published the number of news and media sites we have been featured on has risen to over 430 sites worldwide 🙂
We do have a full CSV file showing all these sites for anyone wanting more information.
The Future of Vinyl - Dave Barcroft - Rock Vinyl Revival
Great Information On The Future of Vinyl
Dave talks in the video about the King Crimson album – In the Court of the Crimson King
Get your own copy of Rock Vinyl Revivals review after reading the latest insights.
First some interesting insights into the current market.
Sales of physical music products in 2019
Demand for albums on vinyl & cassette formats continues to grow.
- Growth continues for vinyl – 4.3m LPs sold, the biggest total this century and sales up for a 12th consecutive year
- Liam Gallagher’s Why Me? Why Not -was the biggest seller selling over 29,000 copies.
- Cassette tapes – over 80,000 sold, the largest amount in 15 years- (although they only account for just 0.1% of overall recorded music consumption.)
Overall sales in 2019
- Downloads/streaming = 80%
- Vinyl albums = 19.9%
- Cassette Tapes = 0.1 %
Album Equivalent Sales up by 13% since start of decade
Initiatives like National Album Day and Record Store Day help the independent sector to ensure its place at the cutting edge of music.
Summary of the decade: 2010 – 2019
The physical format remains remarkably resilient and still accounts for a fifth of music consumption.
Vinyl and cassettes have rebounded with both registering a 2,000 per cent rise since their low points in 2007 and 2012 respectively.
Video Interview – King Crimson
In the video interview Dave referred to the album – In the Court of the Crimson King
You can download the review and history below
Paint It Black
One of the Rolling Stones classic songs.
It reached number one here and in the states. Keep reading to discover the unique aspect of this recording that made it special at the time it was released.
“Paint It Black” (initially released as “Paint It, Black”) is really a song through the British rock-band The Rolling Stones. Jointly credited in the the song writing partnership of Mick Jagger and Keith Richards, it was initially released as single on 7 May 1966, and then became the opening track in the US edition of their 1966 album ‘Aftermath’.
“Paint It Black” got to at number 1 both in the Billboard Hot 100 and also the United Kingdom Singles Chart. The song graced the Rolling Stones with their third number-one hit single in America and sixth within the United Kingdom. Since its initial release, the song has continued to be influential because it was the first number-one hit having a sitar, especially in the United kingdom, where it’s charted on two other occasions, and it has been the topic of multiple cover versions, compilation albums, and movie appearances.
The song’s lyrics are, typically, designed to describe blackness and depression by using colour-based metaphors. Initially, “Paint It Black” was written like a standard pop arrangement, humorously compared by Mick Jagger to “Songs for Jewish weddings”. The song describes the ultimate grief endured by one stunned through the sudden and unpredicted loss of a wife, lover or partner. It’s frequently claimed that Jagger acquired inspiration from novelist James Joyce’s 1922 book Ulysses, using the excerpt “I have to turn my head until my darkness goes”, talking about the novel’s theme of the worldwide desperation and desolation. The song itself found fruition once the band’s leader Brian Jones found a desire for Moroccan music. It had been their first song to have a sitar instrumental.
“Paint It Black” came in a pivotal period within the Rolling Stones’ recording history, a period that saw the song writing collaboration of Jagger and Richards assert itself as the principal composer of the band’s original material. This really is apparent in the sessions for that album ‘Aftermath’, where for the very first time the duo penned the entire track list. Additionally, Jones, overshadowed by Jagger and Richards, increasingly tired of trying to write songs, in addition to conventional guitar tunes. To relieve the monotony, Jones explored eastern instruments, more particularly the sitar, to boost the group’s musical texture and complexity. A multi-instrumentalist, Jones could create a tune in the sitar in almost no time (Jones already had a background playing the instrument dating back to 1961), largely because of his studies under Harihar Rao, a disciple of Ravi Shankar. Following a discussion with George Harrison, who’d already recorded sitar on “Norwegian Wood”, Jones arranged basic tunes using the instrument that, with time, morphed in to the one featured in “Paint It Black”. Back in a 1995 interview, when commenting around the musical styles available on ‘Aftermath’, Jagger described “Paint It Black” like a “type of Turkish song”.
The master take of “Paint It Black” was recorded on 8 March 1966, at RCA Studios in La, with record producer Andrew Loog Oldham present through the process. Many of the first recorded arrangements and keys from the track were modelled following The Animals’ version of ‘The House of the Rising Sun’. It seems the Rolling Stones were dissatisfied with the song and wanted to scrap it. However, while twiddling with a Hammond organ, Bill Wyman looked for any heavier bass sound, while playing the part on his knees. Wyman’s playing clicked with the group and inspired the up-tempo and Eastern pentatonic melody. By all accounts, the sitar was introduced into the mix when Harihar Rao walked in the studio carrying the instrument.
The thing I like about this song is the introduction of the ‘sitar’. It makes the song sound very unique
The sitar was featured on the song. In Brian Jones book, ‘The Making of the Rolling Stones,’ Paul Trynka has noted the influence of Harrison’s sitar playing, and, in particular, the Beatles’ song “Norwegian Wood” on the “Rubber Soul” album, draws parallels in “Paint It Black”—most noticeably in Jones’ droning sitar melody. In response to claims that he was merely imitating the Beatles, however, Jones said: “What utter rubbish!”
His sitar part in the track immediately grew to become influential in creating a whole subgenre of minor-key psychedelic music. Along with this striking instrumental motif, it’s complemented by Jagger’s droning, and slight nasal vocalization. Additionally, “Paint It Black” was highlighted by Wyman’s heavy bass, Charlie Watts’s low-pitch drumming, and Richards’ bolero-driven acoustic guitar outro. Right after, Richards noted the conclusion of the track was over-recorded, stating that a different guitar might have potentially improved the song.
“Paint It Black” was released to the US on 7 May 1966, reaching number one on the Billboard Hot 100 during a stay of 11 weeks. In the UK, the song was released on 13 May 1966 and also became a number-one hit on the UK Singles Chart throughout a chart stay of ten weeks. It had been initially released as “Paint It, Black”, the comma becoming an error by Decca Records, but, nevertheless, stirred debate among fans over its racial interpretation. Upon further reissues in the United kingdom in 1990 and 2007, “Paint It Black” charted at number 61 and 70 correspondingly.
“Paint It Black” has made an appearance on numerous Stones compilations, including Hot Rocks 1964-1971 (1971), 30 Finest Hits (1977), Singles Collection: The London Years (1989), Forty Licks (2002), and GRRR! (2012). Live tracks are featured on the the concert albums Flashpoint (1991), Live Licks (2004), Shine a Light (2008), Hyde Park Live (2013), and Havana Moon (2016). The song was featured within the music game titles Guitar Hero III: Legends of Rock, Guitar Hero Live, and Rocksmith 2014, along with the game titles Conflict: Vietnam, Twisted Metal: Black, and Mafia III.
The song plays throughout the finishing credits from the films Full Metal Jacket and also the Devil’s Advocate. In TV, it had been utilized as the opening theme song in the series Tour of Duty and for the end credits to part five of The Vietnam War documentary series.
It had been featured within the Call of Duty Black Ops III and also the Mummy trailers. The Pittsburgh Pirates of Major League Baseball make use of the song in their “Black Out” promotions. An orchestral arrangement from the song has been used in multiple episodes of the television series Westworld. R&B singer Ciara would later cover the song for that soundtrack from the 2015 film The Last Witch Hunter.
An instrumental version was used in 2018 as background in a TV spot The Future is Built for Ford Motor, featuring Bryan Cranston, as a subtle nod to Henry Ford’s famous comment:
“Any customer can have a car painted any colour that he wants so long as it is black.”
Based on Philippe Margotin and Jean-Michel Guesdon’s book ‘All of the Songs’ the authors give a question mark after Jones’s guitar contribution and credit “tambourine, bongos, castanets” to “unknown musicians”.
The song continues to be covered by other artists some 50 in total, including U2, Rick Wakeman, Judas Priest, Marilyn Manson, Dee Snider with George Lynch, and Ramin Djawadi for the soundtrack of Westworld: Season 1. It was also covered by Chris Farlowe
- Mick Jagger – lead vocals
- Keith Richards – acoustic guitar, lead guitar, backing vocals
- Brian Jones – sitar, acoustic guitar
- Bill Wyman – bass, Hammond organ
- Charlie Watts – drums, percussion
- Jack Nitzsche – piano
I see a red door and I want it painted black
No colours anymore I want them to turn black
I see the girls walk by dressed in their summer clothes
I have to turn my head until my darkness goes
I see a line of cars and they’re all painted black
With flowers and my love both never to come back
I see people turn their heads and quickly look away
Like a new born baby it just happens ev’ry day
I look inside myself and see my heart is black
I see my red door I must have it painted black
Maybe then I’ll fade away and not have to face the facts
It’s not easy facin’ up, when your whole world is black
No more will my green sea go turn a deeper blue
I could not foresee this thing happening to you
If I look hard enough into the settin’ sun
My love will laugh with me…
So that is the background to the classic song by the Rolling Stones – “Paint It Black”
Hope you enjoyed it
*By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=11553036
The Rolling Stones – Paint It, Black (Official Lyric Video)
If your a fan of the Rolling Stones this is one of their classics.
Get the full background and details behind the song and why it has some special
features within the history of the Stones music releases
It is hard to pick their all time best song- there have been so many.
What is your most loved Stones song?
Share your choice in the comments below
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