Rock Vinyl Revival
Rock Vinyl Revival – Vinyl Record Collectors
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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
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I found this great compilation of things that collectors of vinyl just love
Hope you enjoy it 🙂
1 Finding the perfect record player for your room.
- Getting an amazing set of speakers to really complete the experience.
- Randomly stumbling upon a sign like this and suddenly changing your plans for the next hour or two.
- Supporting independent record stores.
- Searching on eBay for deals on rare and out-of-print records.
- Coloured vinyl.
- When the vinyl colour is matchy-matchy with the record sleeve.
Nirvana Fan? – Take a Look Here
- Picture discs.
- White label singles.
- Rare test pressings.
- 45 rpm singles.
- Especially soul 45s.
- Crate digging.
- Flipping through records in a used bin and having no idea what the next thing you see will be.
- A lot of wonderful albums can be found for just a pound.
- Records are can be your time machine.
- Meeting someone cute while browsing through records. This really does happen; it’s not just in movies!
- Those big plastic dividers in record stores, and the super-specific genre names on them.
- Finding truly bizarre old album covers.
- Arranging albums in alphabetical order.
- A perfectly sequenced album side.
- Surface noise.
- Inheriting your family’s old records.
- His Masters Voice
- Sleeveface photos.
- When new albums come with free download coupons.
- Framing album art.
- Being a DJ.
- Record fairs.
- Record bags.
- 45 adapters, in all their forms.
- Those cute little boxes for 45s.
- Just watching the record spin and being sorta amazed that you’re hearing music stored on tiny little grooves.
- Having a huge wall of nothing but records.
- And, of course, this feeling. The joy of records
Once again thanks for this great collection