Athens Record Shops Part 2, Omonoia to Exarchia

OK, this one is long overdue. Some of you may remember that on a recent visit to my (former) hometown of Athens, I made a survey of the surviving record shops for the sake of this blog, taking photos and checking merchandise and prices. I published the first part about the old town and flea market area quite some time ago. This, however, concerns my old neighborhood with which I have a special bond - I didn't want to just list shops and prices and be done with it. I've written about Exarchia before - probably Greece's most notorious neighborhood, for some people it's the center of the world while for others the very mention of its name instills antipathy and fear. You see, in popular myth Exarchia is a state within a state, an area of lawlessness threatening the nation's security. It's populated by violent anarchists and junkies, to enter it is to risk your head, if you park your car there you'll find it burned etc. In truth, it's more like an ungentrified Quartier Latin, a student neighborhood between the old Polytechnic School, Law School, Library and administrative University building. Most of the university functions have moved decades ago to the campus at Zografou but ever since the beginning of the previous century, Exarchia has established itself as the focus point for all bookshops and publishing houses, (anti-) cultural establishments, coffeehouses, music clubs etc. Despite the fact that I studied dentistry a few km away at Goudi, I, just like thousands of students from the Zografou campus, spent most of my time at the cafes there, discussing politics and drinking, starting from the end of the classes (sometimes only attending the obligatory ones) and often until the next morning. Despite the popular myth that the police never enters Exarchia square, we were often harassed by policemen. It's true they didn't dare to enter the square alone, they always came in groups to harass the longhairs and punks. They always asked for your ID and often questioned you on why you're there, where you live, what is your profession etc. In my case any trouble stopped there, maybe because of my manners, or because my parents' house was in an "elite" neighborhood or of some sort of respect towards the "high achievers" studying at the "good schools", whom people then saw as tomorrow's leaders. After all those were the PASOK days, many of the governing social-democrats bent on law and order had cut their political teeth at the same Exarchia cafes. But if you weren't carrying an ID or they didn't like your attitude, they'd take you to the station for a few hours. To be fair, some of the area's fame is justified: It is a home to (among others) violent anarchists and junkies, riots do sometimes erupt and, when they do, a few cars do go up in flames. Despite that fact, I never felt threatened there except when faced with gun-toting policemen. Which is why I chose to live there as a young professional and travel to my suburban practice watching the traffic jams on the other lane with relief, happy that I'm not moving towards the city center with all the suburbanite office workers. During the early 00's, city developers have tried to gentrify the area, but despite raising prices they couldn't get rid of the students and anarchists. Curiously, the police let the drug trade continue unconstrained. It was the anarchists that invariably drove drug dealers away, sometimes by administering a, -definitely not anarchistic- beating. You see, they have always been possessive of their neighborhood. trying to establish it as a place for political dissent, not a magnet for junkies. For example, together with residents (including us) they helped turn an abandoned parking lot into an inner city garden used sometimes as an open air theater/cinema. A year or so before I left, the cycle of rebellion and police repression escalated: a 15-year old was shot dead by a policeman trying to intimidate youths lingering around the square, an act followed by nation-wide riots. The aftermath was devastating for the neighborhood, as the old anarchists' generation which co-existed peacefully with the (largely left-wing intellectual) residents was replaced by a nihilistic and violent youth movement often crossing over to crime. I don't mean plain old vandalism either, as some of them were linked to muggings, extortion of shop owners, terrorism and bank robbing. Even hate crime - a gay club was attacked and customers beaten because their "consumer capitalism" values were unacceptable to them. On the other hand, police harassment of innocent customers and residents also escalated. Then, the financial crisis came and put a definitive end to any gentrification attempts. With other downtown areas turning into slums, at least Exarchia detains a fraction of its old charm: cultural events and rock concerts still take place, bookshops and record shops provide food for the soul and the cafes and restaurants tend to the rest. A visit to Athens is incomplete without Exarchia, and as for security worries despite what I've said earlier the situation isn't bad, it's actually better than most of Athens inner city areas: a degree of caution is required, just like in every big city, but otherwise visitors should feel free to walk around and enjoy themselves. Just don't forget to have some identification papers with you, as police checks are the one constant that hasn't changed since my student days...

Music Corner,
Panepistimiou str.

As I'm for the first time methodically mapping out the record and CD market in different cities, I've come to realise that the city I grew up in actually offers some of the best choices in Europe. Vinyl prices have gone up during the last ten years, but not as much as in the UK. On the other hand, CD prices have plunged - but the biggest draw is the sheer variety of stuff available and deep music knowledge of both the city's collectors and shop clerks. On this second part of the presentation of the city's record shops, we'll start from the city's very center, Omonoia Square. Some of the streets starting here end up in rather seedy places, where prostitution, drug deals and the exchange of bootleg goods are always going on. Athinas street will lead you to Monastiraki and the flea market, but this time we'll take Panepistimou str which leads to the 19th century university building. It was supposed to be turned into a pedestrian shopping street long ago, but it's still busy with slow moving traffic. I guess the plan isn't going forward due to lack of funding. Anyway, here on your left hand (No.56) you'll find Music Corner. It's been around forever, but I rarely shop there. Somehow I don't find it browser-friendly. It does have a good selection of Greek and Jazz music, as well as rock. Some nice price CD's for less than €10, but mostly €15-20. (New) LP's cost €20+ as usual. Across the street on No.54 you'll find Reload. It stands on the original site of Athens' most historic record shop, Metropolis. I watched Metropolis grow from a single store to a chain of more than a dozen shops, including a huge multi-storied one, only for the owner to file for bankruptcy during the beginning of the crisis. I guess the time of giant record stores is over - after all, decline also hit Amsterdam's Fame and London's Virgin Megastore - and those countries weren't hit by the crisis, or at least not as hard as Greece. UPDATE 2019: Reload moved to a parallel street, Akadimias 81. Reload only sells new CD's (€9-20) DVD's and LP's(€15-30). Greek music, jazz, rock and metal (CD/vinyl ratio=50/50). Right next to it, there's a specialized Metal record store called No Remorse. Plenty of space, and everything a metalhead will ever need (CD/vinyl=50/50, mostly new). Some 2nd hand LP's (all genres) €7-20. 

The area between Panepistimiou Str and Lycabetus hill is full of old buildings related to the university and other educational institutes like the Greek-American Union, Goethe institute and French institute on Sinas street. Just below the latter, halfway between Exarchia and the old Athens aristocratic neighborhood of Kolonaki, you'll find Rock 'n Roll Circus. Lots of LP's (€8-20) and CD's starting from €3. The owner and clerks are very knowledgeable about music and host a big sale (not to be missed) at the end of every March. A couple of blocks away, you'll find my favorite record store in Athens - but only if you're well informed as it's otherwise impossible to detect. I always refer to it as Solonos & Massalias from its previous location, but most people call it To Ypogeio i.e. "The Basement". To find it, you'll have to take Skoufa street and turn right (if you're ascending) on the small pedestrian street Staikou, then turn the corner to Kaplanon street. On number 14, there's a door that gives no indication that you're before a shop. When it's open, you're faced with a staircase leading to this (literally) underground place. Here you'll find a treasure trove of vinyl and CD's in very good prices. LP's typically sell for €3-15 and CD's €2-10, with most of them costing between €4,50-7,90.  

To Ypogeio (left) and Rock'n'Roll Circus (right)

There's some new stuff (mostly reissues of classic rarities), but most of it is 2nd hand. The two brothers that own it are always friendly and eager to help when you talk to them - if you don't, they'll just let you browse uninterrupted for as long as you like. Nearby there's Didotou str, with Music Machine one of the most stylish record stores of the city. A nice place for collectible vinyl as well as vintage posters and stereo equipment, worth a visit if only for its atmosphere. Opposite to it is another small vinyl shop called Spindle UPDATE 2020: Spindle is closed, but thankfully there's another record store in its place, called Dirty Noise.

A deep selection of alternative/punk/goth with a dash of 60's garage/psych (90%Vinyl, €20-30). Still in the neighborhood and inside the gallery (H.Trikoupi 24, opposite the site of the old Happening record store; phantoms of old record shops haunt this entry, what can I do?) there's discobole records. All genres, with a good selection of psychedelia/stoner music. CD's €5-15, used vinyl mostly €5-15, new €20+. Two streets above (Ippokratous str) on. 132 there's Vinyl City. In the past (I'm talking about 15-20 years ago, when we still had drachmas instead of euros) I remember it being rather pricey but this time I found it very inexpensive.

Music Machine

Either my purse has grown bigger or the crisis has obliged the owner to drop the prices a lot. Half the stock is on offer for €1-3, the rest €4-20. Most of the records are US imports, sturdy original American vinyl - though one must be careful to check its state, we're talking about used items 30 or 40 years old. A good source for classic rock, country, soul and soundtracks. 

Action Records

Art Rat

If, instead of taking Ippokratous, you choose to descend towards Exarchia square do so via Arahovis. It's not a commercial street, but it houses two excellent record shops that will have you salivating if you're a fan of garage and psychedelia. Action Records, [new address (2019): Mavromichali 51] is specialized in garage/psych vinyl reissues and also acts as a record label. I own some of their albums - collectors items pressed in quality vinyl and issued in a limited number. Art Nouveau, like its owner Nick Kontogouris, used to be the epicenter of the Greek neo-psychedelic scene since the 80's. Nick is a veritable encyclopedia of psychedelic music (I still have his Anthology of psychedelic poetry) and has used his shop to promote local groups, even issuing records, including the legendary (and now ultra-rare) Last Drive 7' debut from 1985. The shop recently moved from Solomou str to Arahovis 42 and sells lots of great psychedelia, prog, alternative and classic rock. Used LP's cost €2-10, new ones around €20. CD's between €4-10 (used) and €15 (new). UPDATE 2020: Unfortunately the physical shop is closed - I had been a client for 32 years. The merchandise is still available on discogs. Another shop in the area that specializes in garage/psych/classic rock is Purple Haze Records (Andrea Metaxa 4, near the square). 

It's very small, but worth browsing not only for the rare original LP's and CD's but also for vintage books and posters. On the minus side, it keeps irregular opening hours, and the owner isn't the most sociable person. On Zoodohou Pigis 46, near the square you'll find Art Rat. It's a tiny place selling highly collectible psych and new wave vinyl. Prices are upwards of €30, which marks it as a collectors-only affair. On the same street, there's Plan 59. A good shop for 2nd hand oldies, jazz, rock and Greek music, with some cult 70's/80's records €9-15. UPDATE 2019: Right next to it, there's a new used vinyl shop called Old School Records. Very good at 80's-90's indie, about 80% vinyl, mostly 2nd hand. Also jazz, blues, rock. Not great for bargains, but honest prices (€10-30, typically around €15, a few offers, CD's €7-15).

One street below on Emmanouel Benaki 74 you'll find Rhythm Records. It's a really nice shop focusing on underground bands playing Ska, garage, punk, stoner, psychobilly etc. New LP's cost €18-25 and used around €15. CD's go mostly for €15, with some special offers for €8-9. A good place to look for Greek Alternative scene records. UPDATE 2020: Still in the neighbourhood (Valtetsiou 31) is A Strange Attractor. A rather sophisticated collection of jazz, prog, psych, industrial and generally weird records, mostly €10-20, plus some interesting books. Sound Effect Records on Spiridonos Trikoupi and Kallidromiou (sometimes listed in its old address in Zaimi) is a bit further from the square but makes up for it with its ample space which makes browsing a comfortable experience. Some CD's €6-15, a big variety of LP's (usually €6-20, offers €3-6, rarities €20+). I especially liked the racks of psychedelic rarities from around the world, which were arranged geographically.

Also on Kallidromiou street, you can find Mikros Erotikos, a very beautiful shop specialized in Greek retro vinyl also selling all kinds of vintage nostalgia items (i.e. toys, magazines, posters etc). UPDATE 2020: Another shop on Spiridonos Trikoupi is Eat Metal Records. As you can probably guess this one specializes in Metal. Small variety in the store (maybe they have more online) bur good prices (most CDs less than €15, LP's less than €20). Going full circle towards Omonoia, one can find Zulu Records (on the pedestrian Koletti street, electronic music) and Bowel of Noise on Themistokleous 23, a paradise for dark metal/doom/goth fans (or should I say hell? maybe paradise is a dirty word for black metal fans). CD's mostly €8-18. New LP's €20+. Very close (Nikitara 14) another specialized metal shop is Sirens. Back on Themistokleous street, you'll find Le Disque Noir, with a specialty in Goth, New Wave, Metal etc. New LP's (€20-30) are on the ground floor, used vinyl (all genres, €7-20) and CD's (€10-20, many offers in metal €5-10) in the basement.

A record store I passed by but was closed throughout my whole visit is Poison Door. I don't even know if it's in business anymore but I'm mentioning it because of the cool Ramones graffiti on its front (see:photo). UPDATE 2019: In my last visit, I noticed a new record store at Themistokleous Str. that doubles as a cafe/bar. It's called vinylio and has a small but attractive collection of vinyl (Greek & International) €15-25(new) €3-20(used). Phew, that was an extra long post and I didn't get to share travel tips with you as I originally intended. Never mind, I promise to do it on another occasion, maybe add it on a slightly relevant post for a Greek band or something. Till then...

Pink Floyd "A Nice Pair" 1967-1968(rec) 1973(comp)*****

Front

Back

You know how classic albums are endlessly remastered and repackaged in order to sell to fans again what they already own? I have to plead guilty - I'm the kind of fan that always rises to the bait. I've bought the entire Doors discography 3 times: on vinyl, CD and DVD-audio/CD combos (the "perception" box set). Actually, I don't regret buying the last one: it sounds fantastic, both in stereo and 5:1 mixes. The Beatles, of course - Full discography. Twice. I didn't fall for the original CD's but when the in mono box set came out I couldn't resist. The Stones: Twice (full discography on vinyl, still missing 4 or 5 on CD). Zeppelin: Everything on vinyl, then the 2 box sets containing the complete studio output in jumbled order. They were remastered by Jimmy Page in the 90's and still sound great, but it goes without saying I've got my eye on the new Jimmy Page remasters with the bonus tracks. Etc etc. Pink Floyd are no exception: Despite previously owning most of their discography either on vinyl or CD I've almost completed my collection of the new remasters. So now I have "Piper At The Gates Of Dawn" and "A Saucerful Of Secrets" on CD and will present them in time. Until recently, I only had them in the form of this compilation: both albums in a double LP. It was issued in 1973, probably to capitalize on the unprecedented success of Dark Side Of The Moon. Like I've said, I'll present the contents in a later post - but it'd be a shame to bypass the LP if only for the (always interesting) cover design by Floyd's regular collaborators, Hipgnosis. Front, back and inserts consist of 9 squares each, some of which are rejected covers and some illustrate a pun e.g. the album title square "A Nice Pair" displays a pair of breasts and a pear. Another literally depicts a fork in the road, and yet another shows a kettle of fish. My favorite story about the cover is the one with Dr. Phang's dental surgery. It was, unbeknownst to the good doctor, depicted on the front cover of the initial pressing. But apparently that was against the General Dental Council's rules on advertising, so it had to be replaced (with a photo of a Buddhist monk, top right). In later U.S. editions it was reinstated - either Dr. Phang retired or the GDC turns a blind eye to transatlantic "advertising".

Insert

Another difference between the UK and US editions is that the American one contains the 8-minute long live version of  "Astronomy Domine" (from Ummagumma) instead of the shorter studio version from Piper...  Also, the US edition is a slightly different mix. My LP is the UK version by the way, so I couldn't inform you on the differences and whether they are actually audible. This compilation has never been officially released on CD. There's a Russian bootleg CD version that might be of interest for collectors, but apparently it's just a digital copy of the latest reissues of "Piper..." and "Secrets", thus not the same mix as the LP. So if you must have it, by all means buy it on vinyl - it's legal, it's not that expensive, and you don't need a magnifying glass for the cover!

The Piper At The Gates Of Dawn *****

1.Astronomy Domine 2.Lucifer Sam 3.Matilda Mother 4.Flaming 5.Pow R. Toc. H. 6.Take Up Thy Stethoscope And Walk 7.Interstellar Overdrive 8.The Gnome 9.Chapter 24 10.Scarecrow 11.Bike

A Saucerful Of Secrets****

1.Let There Be More Light 2.Remember A Day 3.Set The Controls For The Heart Of The Sun 4.Corporal Clegg 5.A Saucerful Of Secrets 6.See Saw 7.Jugband Blues

Jefferson Airplane "Takes Off" 1966****

I was preparing to present Paul Kantner's "Blows Against The Empire" as a small tribute to the recently departed guitarist/singer/songwriter of Jefferson Airplane. Then, while compiling a list of musicians that died in 2016, I found out that another former member had perished, coincidentally on the very same day. It was Signe Toly Anderson, co-singer of the band's first incarnation. She was later replaced by the much more flamboyant Grace Slick, but still left her mark on the first Jefferson Airplane LP. So I decided to present that album instead and dedicate it to both of them.

Yes, I know you don't recognise this cover. That's because this LP is a German reissue from 1974. It happened sometimes, European record companies releasing albums with alternate covers. I don't know what possessed them to do it - exactly how does a cover like that boost sales? Maybe they thought it'd look Floydian what with the cows and everything. Maybe they were trying to pass it off as a new release - their last album ("30 Seconds Over Winterland") had come out in '73. Ex-members had in the meanwhile formed Jefferson Starship, as in "an evolved, better, version of the old band" but some fans could have been fooled by the appearance of a "new" Airplane record in the stores. If they did, they'd be in for a surprise. This is a different band to the one that made "Surrealistic Pillow" and "Volunteers" - a lighter one, both musically and lyrically. It was formed in August 1965 by a couple of folkies, Marty Balin and Paul Kantner. They were soon joined by vocalist Signe Anderson, blues guitarist Jorma Kaukonen, versatile jazz bassist Jack Casady and singer/drummer Skip Spence. An incredible collection of talent, as most of them would prove to be great singers, guitarists and songwriters. Yet on this first album, Balin is definitely the leader, co-writing most of the songs and assuming most of the lead vocals. His tenor voice doesn't have much power or range but he sings the high notes with ease and forms beautiful harmonies with the other members. Opener "Blues From An Airplane" is a brooding piece of psychedelia with ragga-like guitars and intricate harmonies. Before its time, as the album was recorded between December '65 and March '66. "Let Me In" and "Bringing Me Down" are more typical '66 garage folk. The former features a great Kantner lead vocal and Kaukonen guitar solo, but fell victim to the censors who cut half the song, convinced that the title was a clear invitation for sex. "It's No Secret" is another excellent psychedelic love song and "Tobacco Road" a rolling blues number. "Come Up The Years" is an aching love song with Byrds-y harmonies and inventive instrumentation using glockenspiel. "Run Around" is more proto-psychedelia while "Let's Get Together" is an early version of the Dino Valenti folk song that became later famous by The Youngbloods and came to be regarded by hippies as a sort of national anthem ("Hey people now/Smile on your brother/Let me see you get together/Love one another right now"). "Don't Slip Away" is a fantastic jangly folk rocker and a touching plea for love. "Chauffeur Blues" is the sole pure blues of the collection as well Signe's only solo spot - and she brings down the house, proving she was every bit as powerful a vocalist as her celebrated successor. Not to be outdone, Balin delivers a gut-wrenching performance in the bluesy "And I Like It" which closes the album. By the time the album hit the market (4 months after its recording, what with the censorship problems and all) Anderson was heavily pregnant and unable to tour with the group, so they appropriated the lead singer from another local group, Great Society. That was Grace Slick who proved to be a dynamic vocalist as well as the ultimate poster girl for the hippy generation. With the further replacement of Skip Spence (a talented singer/songwriter but amateurish drummer) by Spencer Dryden, the airplane was ready to soar even higher...

***** for Blues From An Airplane, It's No Secret

**** for Let Me In, Bringing Me Down, Tobacco Road, Come Up The Years, Let's Get Together, Don't Slip Away, Chauffeur Blues, And I Like It

*** for Run Around

R.I.P.

Early in the year I remarked at how rotten this year had started, with so many important artists perishing in such a short period. I've been meaning to present some of their albums as a small tribute and thank-you for the music they gave us. At first I didn't want to clatter them together with similar pieces for Lemmy and David Bowie, then I had the trips to Italy, Spain and Greece and all the records I brought with me waiting for a listen. Unfortunately, the blows kept coming. Latest one, and quite unexpected, Prince - aged only 58. Without a doubt, the greatest R&B artist of the last 30 years. Now it seems impossible to write something for all those we lost in the short 4 month period between last Christmas and today - hopefully, but not likely, there won't be many more for the rest of the year. I'd like at least to mention them one by one:

Thank You For The Music

Prince,

David Bowie,

Lemmy (Motorhead)

Glen Frey (The Eagles)
Lonnie Mack (Blues guitarist)

Keith Emerson (Keyboard wizard of ELP and The Nice)

Sir George Martin (Beatles producer known as "The Fifth Beatle")

Paul Kantner (Jefferson Airplane/Jefferson Starship)

Merle Haggard (Country music giant)

Dan Hicks (The Charlatans US, Dan Hicks & His Hot Licks)

Jimmy Bain (bassist, Rainbow)

Dale Griffin (drummer, Mott the Hoople)

Signe Toly Anderson (singer, Jefferson Airplane)

John Bradbury (drummer, The Specials)

Steve Wright (singer, The Easybeats)

Natalie Cole (R&B singer, daughter to Nat King Cole)

Maurice White (Earth, Wind & Fire)

Otis Clay (R&B singer)

Paul Bley (Jazz pianist)

Gato Barbieri (Jazz saxophonist)

Naná Vasconcelos (Jazz percussionist)
Pete Zorn (Steeleye Span,Albion Band,Richard Thompson)
Dennis Davis (drummer, worked with Bowie & Stevie Wonder)

Robbie Brennan (Skid Row -the Irish band with Gary Moore, not the US one) 

Vi Subversa (of the anarcho-feminist punk group The Poison Girls)

Jimmy Van Zant (Southern Rock, cousin to the Van Zant brothers of Lynyrd Skynyrd)
Black (Irish crooner of "Wonderful Life"fame)

Gib Guilbeau (The Flying Burrito Brothers)

Brad Kent, Canadian punk rocker (D.O.A., Avengers)

Joe Skyward (bassist, The Posies)

You will not be forgotten.

Joe Strummer "Nefertiti Rock" 1986-2000(rec.) 2013(comp)****

I've always been a fan of music rather than of musicians, but Joe Strummer is the closest I get to having a rock idol. Today, the notion of the socially conscious rock star is Bono, surrounded by his bodyguards, meeting Obama or IMF boss Christine Lagarde to ask them to forgive third world debts, exchange pleasantries, and get their photos taken together. Strummer was his polar opposite: a simple man of the people, traveling the third world in beat-up buses, making friends and playing music with the locals, passionately supporting his ideology from the street level rather than use his celebrity status. Fittingly, his last concert ever (and only time he shared the stage with Clash alumni Mick Jones since they disbanded) was in a benefit for striking firefighters. This performance (in Acton Hall) as well as live recordings with The Pogues have been released as Record Store Day exclusives (in 2012 and 2014, respectively) but I've missed out on them. Getting this one last week was a small compensation. Although I did buy it on Record Store Day, it's not an official RSD-related release, but a semi-legal Belgian limited release of 500 copies in black vinyl, plus 3x100 in yellow, green and purple. The cover is a simple stencil on brown carton paper, with no details on the origin of the recordings. The back cover just states "Rare and Unreleased Recordings!" but from the tracklisting it's obvious that these are mostly taken from 80's movie soundtracks. Strummer's wilderness period between The Clash and The Mescaleros has not only been musically almost barren but under-curated as well. His only album of the period, 1989's "Earthquake Weather" remains out of print, and was at the time such a disappointing flop that he did not enter a recording studio again for a decade. These tracks were recorded with his backing band Latino Rockabilly War prior to "Earthquake Weather" and show him in search of a new sound, mixing punk with rockabilly and world music. To my ears, they sound better than the album did but, maddeningly, no-one seems to have thought of collecting them before. I'd like to have a properly remastered official release, but for the time being this will do. The sound quality, for once, is great. The LP kicks off with "Ambush At Mystery Rock", a surf/western instrumental form the soundtrack of Alex Cox's punk western Straight to Hell. "Dum Dum Club" comes from the soundtrack of Sid & Nancy, another Cox movie starring Gary Oldman as Sid Vicious. It sounds like a combination of Sandinista-era Clash and Strummer's latter work with The Mescaleros. Three tracks from the 1988 Permanent Record soundtrack close side one: "Baby The Trans" is a mix of rockabilly and worldbeat, "Nefertiti Rock" is a throwback to his pub rock days with The 101ers and "Nothin' Bout Nothin'" a garage rocker with a short hard rock guitar solo - I think it's the first one I've heard in a Strummer-related album. The second side starts off with a great cover of Jimmy Cliff's reggae classic "The Harder They Come". It seems to be the version he recorded with Long Beach Dub Allstars for a 2000 compilation album and thus belongs to a whole different era than the rest of the songs here. "Evil Darling" is a vaguely Moriconne-sque ballad from Straight To Hell and "Love Kills" is a tribute to Sid Vicious from the Sid & Nancy soundtrack. It's a tremendous rocker that wouldn't sound out of place in Clash's Combat Rock album. "Trash City", as performed by Latino Rockabilly War in the Permanent Record soundtrack, is probably Strummer's finest post-Clash moment. The version included here is similar but less powerful. I've read somewhere that this album also includes "home recordings with Joe on all the instruments" and I guess that's the one they meant. The inclusion of the original would warrant the album another star, but collectors who already have the Permanent Record soundtrack may be happier with the demo. I'm not, though it gives me an incentive to buy the official reissue if and when it appears - as if I needed incentive.

***** for Dum Dum Club, Love Kills 

**** for Ambush At Mystery Rock, Baby The Trans, The Harder They Come, Evil Darling, Trash City 

*** for Nefertiti Rock, Nothin' Bout Nothin'

Record Store Day in Delft

Hooverphonic playing a tent outside Velvet Records in Delft

in Sounds Records, 16/04/16

What do you mean you don't know what day yesterday was? Did you forget one of the greatest holidays of the year? No, it wasn't Christmas or Easter, not Thanksgiving or the 4th of July my American friends, not Sinterklaas my Dutch friends, nor Bayram my Turkish friends... No, it was... Record Store Day!!! Did you get sufficiently worked up? I hope so... But I guess it's a new tradition, so maybe it's not familiar to all of you. It started from the U.S. in 2007 and is now celebrated in record stores internationally. But some of you probably haven't set foot in a record store in the last decade. After all, why should you? When you can watch any song on youtube on your laptop or mobile, or stream it in glorious MP3 quality ? Not to mention that if really need to get it on CD it's only a few clicks away from the Amazon website to your door... Then you see John Cusack in High Fidelity and get all nostalgic "remember neighbourhood record stores?". Well, despite predictions, the independent record stores have not withered and died. The rebirth of the vinyl album is one of the reasons the decline of the record stores has been reversed. Another one is the plain fact of interaction with record store clerks, preferably as knowledgeable but much less obnoxious than Jack Black in the abovementioned movie. Or the music playing from the speakers welcoming you into the shop -always interesting, never your typical muzak. I can browse records for hours and, despite the fact that Amazon sometimes offers better prices and variety, at the shop you'll invariably find something that's unavailable or much more expensive online. Every visit is a pleasant experience and yields something unexpected. Anyway, Record Store Day is a day to support your local record store. 

Oude Delft canal in October

To go out there and buy some records, listen to in-store performances by live bands and DJ's and check out the limited edition record-store day releases made available only on that day and only via the participating record shops. For my taste they're a bit overpriced, but many stores have other promotions as well. For example, Sounds Records in Delft yesterday offered, especially for the day, a 10% discount on all new LP's and certain CD's in a reduced price. I took advantage of that and left with a dozen LP's, although I'm more of a CD buyer for reasons of space and practicality. Somehow vinyl seemed the right choice for the day. Another big bonus of the day are the in-store performances. I saw a few local bands, plus Belgian trip-hoppers Hooverphonic - or at least some musicians that claimed to be Hooverphonic and played their biggest hits though they looked too young for a band with 20 years on its back - not that I'm complaining: they sang well and, above all, the concert was free. So what I kept thinking was that, for a city of barely 100,000 inhabitants, Delft has some great record stores. Well stocked, with well-informed employees and good prices. Maybe then it's time for a special post to present the record stores of my (current) hometown.

Delft City Hall

Velvet Music

But before I do, let me start by saying that the old town of Delft is probably the most beautiful in all of The Netherlands.A booming city since the 14th century thanks to overseas trade by the Dutch East India company and the famous Delft Blue porcelain industry, it peaked (before Amsterdam did) in the 16th century and served as the seat of William the Silent, so-called father of the (Dutch) nation, leader of the Lowlands' insurrection against its Catholic rulers and founder of the Royal House of Oranje. The old city center is one of the best preserved in the country, with its typical narrow Dutch houses and network of canals. Imagine a smaller version of Amsterdam minus the drugs, prostitutes and drunken tourists. Traffic is almost non existent in the center, so you can easily discover it on foot. In the spacious main square you'll see the impressive City Hall and Nieuwe Kerk cathedral (called The New Church despite being founded 600 years ago) which houses the tombs of William the Silent as well as other royals and notables. On the Voldersgracht behind the square, you'll find two of the city's record stores: Velvet and Plexus.

Plexus/t'Platenmanneke Record Store

Velvet Music is part of a record store chain that offers primarily new CD's and DVD's, with a steadily increasing vinyl department (new and second hand). Newly circulated CD's cost €15-18. Most of the older ones cost €10 or less, many special offers 2-for-€15. For used LP's expect to pay €4-15 and new ones €15-25 - always taking into account that these prices are current as of April 2016. In any case one might call them indicative at best. Behind the counter you can see (but not touch) a variety of box sets and other collectors' items for sale. UPDATE 2019: used 7' singles and CD's are now also available. A few meters down the road you'll find Plexus aka t'Platenmanneke. It has the biggest vinyl collection in the area as well as (despite the owner's professed dislike towards the medium) all kinds of CD's, including hard to find older circulations, jazz and a wide selection of world music.  Most (2nd hand) LP's cost between €10-15. CD's (new) €8-18. Further still on the Voldersgracht, you'll find the Vermeer center, a museum dedicated to the local painter famous for, among other works, the girl with a pearl earring.

The frozen canal and leaning Old Church in the winter

Sounds Records

The third big record store is Sounds on the Brabantse Turfmarkt. It's extremely well stocked, both in CD's and vinyl (new and used). The prices are very competitive (new LP's €12-25, used mostly €5-25, some offers €2,5). New CD's starting from €4,99 some 3-for-€25). UPDATE 2019: There's a long-standing sale on specific CD's (around €5, not just the usual "nice price" items) and LP's (€10-15) to make room for new merchandise. On Record Store Day during the last years, discounts on vinyl (10% new, buy-2-get-1-free used, old RSD items on discount)

Every Saturday there's a market right in front of Sounds. You won't find any records there but you will find an astounding variety of cheeses and a stall selling stroopwafels, the typical Dutch thin caramel waffles. Don't miss the opportunity to pack a fresh one, they're delicious. Also, every Saturday from April to October there's an antique street market by the canals in the center. Vinyls and CD's can be found in the various stalls. Lastly, a small vinyl shop recently cropped up close to my home. It lies on a beautiful canal called Buitenwatersloot, close to the train station and just outside the city center. It's called Meneer Van Ulden, probably the name of the owner - it just kills me when Dutch people introduce themselves as mister so-and-so! In my last visit I didn't find much of interest but who's to say that mister Van Ulden has not stumbled into a vinyl gold mine since then? I say better to be thorough and check him out, too...UPDATE 2018: Meneer Van Ulden has moved to Rotterdamseweg. Still not essential, but his collection keeps growing so it's worth a visit despite being out of the city center. UPDATE 2021: Near the train station (Binnenwatersloot 23), you can find a 2nd hand record store that Google identifies as Aan 't Grachtje van Delft. They have a nice (used vinyl only) selection and normal prices. I've visited it a few times and bought some records, but didn't take any photos or notes.

Jesse Winchester "Jesse Winchester" (1970)**** "Third Down, 110 to Go" (1972)****

I first became aware of Jesse Winchester through the TV series "The Wire". One of his songs soundtracked the closing of the 1st season and while I watched I made a mental note to seek out the artist. It's not included here, but I did some digging and I was convinced this is the place to start. This CD gathers his first 2 albums, recorded in Canada to which he fled to avoid the draft and the Vietnam war. His exile from the U.S. meant he remained a cult artist whose songs were to become famous by other performers. Some songs from his debut have graced the country charts covered by other artists, but the one I knew and loved forever (without knowing it was his) was "Black Dog", in its unlikely hard rock version by Babe Ruth. Anyway, country was only one of the elements of is sound, which also embraced blues and rock and roll. His same-named debut from 1970 was produced by The Band's Robbie Robertson who also plays guitar in the album alongside another Band alumni, Levon Helm (on drums and mandolin). Opener "Payday" is a potent blues rocker with rolling boogie woogie piano. "Biloxi" and "Skip Rope Song" are introspective folk, while "Snow", "That's A Touch I Like" and "Rosy Shy" are mid-tempo country rock. The Band's influence is evident in the music, just as the nostalgia for his Southern homeland is evident in the lyrics - for instance in "The Brand New Tennessee Waltz" with its old timey country fiddle and the Byrds-y ballad "Yankee Lady" which earned him some radio play and was covered by many of his peers. "Quiet About It" and "The Nudge" are rootsy Southern rock and "Black Dog" is the odd song out. Its funereal beat and creepy organ go well with the dark lyrics and it gives off a vibe I can only compare to Dr John's voodoo Gris-gris stuff. Much as I like Jesse's soft delivery, though, Babe Ruth's Jenny Haan wins this contest - if only by sheer volume and vocal power.

***** for Black Dog

**** for Payday, Biloxi, Snow, The Brand New Tennessee Waltz, Yankee Lady, Quiet About It, Skip Rope Song, The Nudge 

*** for That's A Touch I Like, Rosy Shy

The second album (from 1972) is noticeably less rock and I was prepared to like it less, but after a few listens it stuck by me. The sound is more laid-back and acoustic. Opener "Isn't That So?" and "Full Moon" mix blues and country in a relaxed way that reminds me of J.J. Cale. The album consists mainly of acoustic folk ballads, and most songs are around (or less than) 2 minutes - with the exception of the beautiful "Glory To The Day". Together with country ballad "Silly Heart" and the Creedence-like "Midnight Bus", these are the 3 songs that survived an earlier recording session with Full Tilt Boogie (Joplin's last band) and producer Todd Rundgren. Interspersed among the ballads are country ditties "Do It" and "The Easy Way" and the curious rockabilly rhumba "God's Own Jukebox". Many of Winchester's songs reference religion, but they're always good-natured and never preachy. The album also includes a couple of lullabies written for his baby, the sweet "Do La Lay" and "Lullaby For The First Born" which reminded me of early Tim Buckley. It sports acoustic percussion, flute, violin and wordless vocals. Beautiful songwriting and singing on this second album, but I'm kind of conflicted about the sparse instrumentation and short duration of the songs: on the one hand it makes them sound like underdeveloped song sketches (which they aren't)  but on the other it gives them a more direct, homey feel, like he's singing at a small friendly gathering. In any case, both albums are terrific - coupled together they make an irresistible package! 

**** for Isn't That So?, Dangerous Fun, Full Moon, Lullaby For The First Born,Glory To The Day, Do La Lay, God's Own Jukebox

*** for North Star, Do It, Midnight Bus, The Easy Way, Silly Heart, All Of Your Stories

The Who "The Kids Are Alright" rec.1965-1978 (comp)1979****

For a band so celebrated (or, if you prefer, notorious) for its powerful live performances, there was precious little documentation of that side of the band during their first 15 years: the 6-song LP "Live At Leeds" from 1970 and a few spots on the Monterey Pop and Woodstock festival films. Rockumentary film "The Kids Are Alright" and its accompanying soundtrack was their (or their record company's) attempt to fix it. As it transpired, it also marked the ending of a chapter and served as an epitaph for drummer Keith Moon, who died of an accidental overdose of prescription pills and booze at the age of 32. Some of his last performances were recorded for this film, which gathers rarities, concert and TV performances, spanning 14 years (1965-1978). The oldest of those "I Can't Explain" and "Anyway, Anyhow, Anywhere" (1965 TV performances) are fine but lacking in recording quality. From their 1967 appearance at The Smothers Brothers Comedy Hour, we get an explosive performance of "My Generation". The presenter makes a poor attempt at a humorous presentation, immediately forgotten when the band kicks in with their cataclysmic drums, trademark stutter and thundering bass solo. A great take on rocker "I Can See for Miles" from the same show is also included here. From 1968 and the German TV show "Beat Club" there's a terrific call-and-response "Magic Bus". "Long Live Rock" is an anthemic 1972 studio rocker and "Young Man Blues" a raucous Mose Allison cover that's long been a staple of The Who's live shows. "A Quick One While He's Away" is a cut from the (then still unreleased) TV program "Rolling Stones' Rock And Roll Circus" and it's possibly the definitive performance of this so-called mini rock opera. Supposedly the Stones opted not to release the show when they realized that guest stars The Who had actually outperformed them. Tracks 12-15 ("Tommy Can You Hear Me?"/"Sparks"/"Pinball Wizard"/"See Me, Feel Me") are excerpts from their rock opera "Tommy", mostly recorded during their legendary 1969 Woodstock performance. Moving on to the 70's, there's an energetic medley from '75 ("Join Together/Road Runner/My Generation Blues") and a rare lead vocal spot by John Entwistle in his own song "My Wife", which was included in the soundtrack but eventually left out of the film. Filmed in the Shepperton Film Studios shortly before the drummer's death in 1978, are two of The Who's greatest classics, "Baba O'Riley" and "Won't Get Fooled Again", both originally from "Who's Next".  Daltrey and Townsend are on top form. Mooney is just plain good instead of his usual amazing, but still it makes a great case for The Who as one of the best live bands ever. I saw them (well, Daltrey and Townsend at least) live recently and, despite being almost 70, they could put many younger bands to shame...

***** for My Generation, Magic Bus, Long Live Rock, Baba O'Riley, A Quick One While He's Away, Won't Get Fooled Again

**** for Happy Jack, I Can See for Miles, My Wife, Sparks, Pinball Wizard, See Me Feel Me, 

*** for I Can't Explain, Anyway Anyhow Anywhere, Young Man Blues,Tommy Can You Hear Me?, Join Together/Road Runner/My Generation Blues (Medley) 

The Freak Scene "Psychedelic Psoul" 1967*** & Devil's Anvil "Hard Rock from the Middle East" 1967****

Strange idea, to couple two unconnected bands in one CD, but why complain if you get two rare psychedelic albums for the price of one? And it's not as if the compilers have put together Mozart and Lady Gaga. These two albums have many similarities: both were recorded in New York in 1967, both display a tendency for experimentation and utilize "exotic" influences and instruments and, finally, both bands' career was very short. In the case of Freak Scene, in particular, the band never even existed in the first place. I don't know who these guys are on the cover (inside the eye), but the album was created in the studio by producer Rusty Evans. Not an uncommon practice in the mid-60's, as there were tons of producers churning out psychsploitation albums, trying to cash in on the latest youth craze. Evans, though, had a head start on them. Although I doubt he'd even taken a hit of LSD, he pioneered the use of studio effects to recreate the lysergic effect in music. He started as early as 1966 with The Deep and "Psychedelic Moods", one of the first albums to feature the word "psychedelic" in its title. With "Psychedelic Psoul" he added a strong world music element, as The Beatles had recently popularized Indian music by experimenting with the use of sitar in "Revolver". His weakest point was the lyrics, a really embarrassing attempt to tap in 60's counterculture by blending silly pseudo-surrealistic "poetry" and ridiculous "revolutionary" sloganeering. He opens his album with a bang, though: "A Million Grains of Sand" is a garage/psych monster on a par with the best Electric Prunes singles. The same combination of exotic percussion, fuzz guitar and tape effects is employed for tracks like the psych/pop "Behind the Mind" and folk/psych (think Buffalo Springfield, only weirder) "The Center of My Soul". "Mind Bender" is another garage rocker, with a fast military beat, surf guitars and a female voice singing an oriental melody on the background while the lead singer keeps reciting nonsensical stream-of-consciousness lyrics. "Watered Down Soul" would be a typical psych rocker, if the oriental surf licks weren't drowned by bubbling liquid noises. "Red Roses Will Weep" is an ominous baroque ballad while "My Rainbow Life" is the best of the raga-like tracks. Not sure why, but it reminds me of Floyd's "Set the Controls...". Other tracks with a strong Indian influence include  the slow and stoned "Rose of Smiling Faces" and the instrumental "Grok!" while "When In Course Of Human Events" (Draft Beer, Not Students) and "The Subway Ride Thru Inner Space" feature spoken word over an insistent percussive beat. All in all, an interesting slice of "experimental" psychedelic rock. Even all the silliness has some period charm when you're sufficiently detached chronologically.

***** for A Million Grains of Sand

**** for My Rainbow Life, Mind Bender

*** for Rose of Smiling Faces,Behind the Mind, The Subway Ride Thru Inner Space, Butterfly Dream, The Center of My Soul,Watered Down Soul, Red Roses Will Weep 

** for When In Course Of Human Events/Draft Beer, Not Students, Grok!

If for Rusty Evans the world music elements were a concession to a passing fad, for Devil's Anvil they were the very basis of their sound. Instead of a rock album employing oriental melodies and instruments for a bit of exotic flavour, it's actually oriental folk played with a rock sensibility. The majority of the musicians were of Middle-Eastern origin and quite proficient at their instruments. These were Jerry Satpir on lead guitar and vocals, Elierzer Adoram on accordion, and Kareem Issaq on oud and vocals. They played the ethnic clubs of New York and even sang in various languages. For example, they sing two songs (competently) in Greek, obviously part of their repertory because of the large Greek community of New York. The other members of the group, who'd soon join hard rockers Mountain, were Steve Knight (guitar, bass, bouzouki) and Felix Pappalardi (production, percussion, bass, and lead vocals on "Misirlou"). Most of the songs are based on traditional melodies and sung in Arabic. That fact alone would be enough to dissuade DJ's from playing their record, but Devil's Anvil were unlucky enough to release their record just as the Arab-Israeli conflict escalated into a full-blown war. Under the circumstances, nobody would go near an album featuring an Arab dressed in full desert attire on the cover. Opener "Wala Dai" may be a traditional Arab tune, but it does justify the hard rock of the album title with its relentless tempo, fuzzed-out surf guitar, rockin' drums and farfisa organ. Two more tracks ("Karkadon" and the Turkish traditional tune "Shisheler") take the middle road between Anatolian folk and contemporary garage/psych, while "Besaha" and "Selim Alai" are sped-up, fuzzed-out bellydance music."Teyul Leili" is acoustic dreamy psychedelia. "Nahna Ou Diab", "Isme" and "Hala Laya" are closer to world music and probably of less interest to rock fans. What impressed me here is the authenticity of them - unlike George Harrison whom you could never mistake for an Indian sitar player. these guys really know their instruments and how they're supposed to sound. Above all the singer manages to convey emotion the right way - on "Isme" he reminds me of the celebrated Greek Anatolian singer Kazantzidis and, despite his flawed accent, he manages to pull off "Kley" - maybe not that difficult a song on a technical level, but when you sing lyrics like "my mother weeps upon the grave" you'd better be able to convey pain convincingly. He's equally good in the other Greek song "Treea Pethya", a jaunty tune sure to get people dancing in any Greek village wedding. Kudos also to Steve Knight for his bouzouki playing - I can't imagine he's had that much practice but his playing here is quite good. The last of the Greek tunes is "Misirlou", already famous from Dick Dale's surf version and sung here in English by Papalardi. The tempo is, of course, slower although still not as slow as the original. It's a very good version, perfectly balancing between rock and traditional folk with alternating bouzouki and electric guitar solos. Unfortunately Devil's Anvil fail to  maintain that balance throughout all of the album, as the ethnic element mostly gets the upper hand - a pity, as the rockier tracks are really the most interesting here. I don't see many world music fans getting worked up by their versions of traditional material - well played yes, but still not "authentic" enough for their taste...

**** for Wala Dai, Karkadon, Shisheler, Misirlou, Teyul Leili

*** for Nahna Ou Diabtrad, Selim Alaie, Besaha, Kley, Treea Pethya

** for Isme, Hala Laya