SPIN

W W W . S P I N M A G . C O M 1W W W . S P I N M A G . C O M 1

exclusive: inspiral carpets' clint boonhappy mondays' gary whelan reveals his favourite album manchester's vinyl valley exploredtop must-visit record storesESSENTIAL VINYL GRADING GUIDE

SPIN

legendary hacienda dj jon dasilva

tech guide + New music from led zeppelin

Vinyl culture. Today.Issue 1 September £3

“dJs today hav e

got it easy!”vinyl Vs. d igita l:

MANCHESTER Special

No copyright clearance


editor's letterWelcome to the launch issueof SPIN, your monthly guide to all things vinyl.

To get things rolling we’ve focussed on the city that’s at the centre of all things musical: Manchester. You’ll see why when you’ve had a look at the features we’ve got lined up for you.Top of the list is Jon Dasilva, our cover star who used to be resident DJ at the world-famous Hacienda nightclub. He grants us 20 minutes of his time to give us an insight into his world. Next up is Clint Boon, keyboardist for Inspiral Carpets and radio favourite on XFM, who gives us the inside track on Manchester’s music scene, past and present. We’ve got an in-depth look at Manchester’s Northern Quarter, and area that’s been dubbed Vinyl Valley. We also had a chat with Gary Whelan, who you might know as the least mental member of Happy Mondays, lets us know what album inspires him the most. On top of that we’ve got features that you’ll see cropping up regularly over the coming months. Inherited a record collection but got nothing to play them on? Head over to our tech section for some help.Not sure whether you’ve got a valuable record on your hands? Step no further than our grading guide. Fancy winning loads of free stuff? Of course you do. Our competitions get you in with a chance of a free stay at Manchester’s Hilton, and loads more. We’ve also got album and gig reviews, including the newest vinyl release from Led Zeppelin, and a look at the nation’s favourite record shops. Hopefully that’s more than you three quid’s worth.

Lastly, we can’t end without thanking all of you who’ve bought a copy of SPIN. We hope you enjoy reading it as much as we enjoyed writing it. Mark Griffi th,Editor

SPINYOU CAN ALSO FIND US HERE:

@SPINMAG SPINMAG SPINMAG.com

SPINby mark griffith

copy on "My Favourite album" contributed by gary whelan

DISCLAIMER

All original editorial content of …. Is protected by copyright. Material obtained without copyright is clearly marked as such. Many interviewees have only agreed to limited distribution for university coursework purposes. For permission to reproduce in part or whole contact Cathy Darby, course leader for MA Magazine Journalism at the University of Central Lancashire on [email protected] The www….. website is for project purposes only.

5 the turntableThe latest news from the world of music

9 gRADING GUIDE Whether selling or buying, learn vinyl's value 10 clint BoonInspiral Carpets' Clint Boon spills the beans on the Manc music scene

12 techLooking to buy your fi rst turntable? Read on...

16 wish listRare treasures you wish you could own

18 spotlight: northern quarter We dig deeper into the popularity of Vinyl Valley

24 vinyl tapThe best independent shops across the UK -- get involved to see your fave next month!

28 jon dasilva The Hacienda legend on DJ life, modern technology and more

34 REVIEWSLed Zep's Coda + latest albums and gigs

45 COMPETITIONSYour chance to win a trip to Manchester and more

46 my favourite album Gary Whelan tells us all about the album that inspired him to greatness

this month

Vinyl culture. Today.


W W W . S P I N M A G . C O M 5

the turntable

The allure of the music festival can often seem a bit of a mystery to the uninitiated. It usually sounds great on paper: seeing all of your favourite bands, drinking copiously and having a laugh with your mates. Then what actually happens is a lot worse: chances are it’ll rain for five days straight, your tent will collapse within two, and you contract trenchfoot. And Foo FIghters end up cancelling as well.

But somewhere between drinking a crate of beer to yourself and running out of clean pants you have a good time. It’s an addiction that pulls people back in their thousands

every year and that tends to get overlooked amid all of the megaband hype. There’s a side to the festival that we rarely see in the media, and that’s the side of the crowd. A melting pot of characters all united in their passion for music.

Australian photographer Nic Bezzina has gone to great lengths to do just that with his new collection of images. Describing it as a “snapshot into the culture and fashion of our generation,” Nic has soldiered through mountains of mud and braved torrential rain to capture the perfect festival pictures.

Bored of following every other photographer and taking pictures of the bands, Nic decided to take in the effects that those bands were having on the watching masses of fans. What results is a rare depiction of the people that

make a festival what it is. It’s not often that you get an insight into someone losing it quite as accurately as when their favourite band has just hit the stage.

The book, titled Release the Crowd, features over 100 black and white photographs of music

festivals and is currently being funded through Kickstarter.

Being an unashamed metalhead, Nic has gathered pictures from metal and hard rock festivals across the globe including England’s Download, Sonisphere and Bloodstock, Germany’s Wacken, France’s Hellfest and Australia’s Soundwave. Expect beards and tattoos aplenty.

Pledges of more money include an invitation to the book launch in Sydney. Anyone that has ever been to a music festival can relate to the sentiment behind Nic’s work, so it’d be a shame not to at least have a little peek

Release the Crowd is published in November. It can be supported via Kickstarter or at releasethecrowd.com

the latest in vinyl news

PHOTOGRAPHY

mud, sweat and beers

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Photographer Nic Bezzina points his lens away from the stage and towards the rabid masses of the festival-going public

“An unashamed metalhead, Nic gathers

pictures from Download, Bloodstock and Hellfest”

The latest Loreal advert didn’t go down well

6 W W W . S P I N M A G . C O M

world news

This is what happens when you get carried away with your collecting.

A charity shop in San Diego has collapsed under the weight of its records. Thrift Trader, pictured above looking a bit worse for wear, had recently moved into the building and filled the second floor with LPs. Luckily no one was injured as the incident occured at 4am local time when the store was empty.

It’s currently unknown whether any records were harmed. We hope a Kanye West one copped it.

a thrift exit

So your record collection is well under way. You’ve even broken a few shelves you’ve got so many. But how to show them off? You can barely see them if you play them the traditional way, all hidden away under the casing. And there’s no point in owning that ultra-rare-but-absolute-rubbish prog album if you can’t brag that you own it. Well, you might want to do a little bit of research into a company called Gramovox.

If ever the term “think’s outside the box” applied to a company it would be this one: Gramovox don’t really do normal. They’re already guilty of creating a Bluetooth gramophone, something that sounds like a completely unnecessary hipster badge of honour but is actually a beautifully realised piece of kit. In any case they’re back, and have yet again managed to create a weird and wonderful record player, one you’ll initially think is stupid

and then immediately want. Introducing the Floating

Record Vertical Turntable, set to revolutionise living rooms far and wide.

Introduced as a Kickstarter project, the Floating Record Player displays your chosen disc in a flashy-if-precarious upright position. By shifting the angle of the record through 90 degrees, Gramovox’s design claims to take up less room than a conventional turntable. We’re inclined to agree, but it’s also designed to fall over a lot more than a conventional turntable, so be warned.

Despite that obvious but necessary gripe, Gramovox really haven’t compromised on build quality. The sound cartridge comes in the form of an Audio Technica AT95E, the belt can be shifted for 33 and a half inch or 45 RPM playback, and a set of two inch speakers deliver tunes if you don’t have a larger speaker setup

(there’s an audio output socket on the rear).

Like most great ideas, it’s a simple concept that won’t have ever occurred to you; you’ll never have realised you wanted to see your records spinning vertically until now. If you took your average record player and stuck it on its side you’d be opening up a world of problems: the record would fall off and the tonearm would almost definitely not do what you want it to. Gramovox has solved these problems with a clamp that holds your albums in place, and the carbon fibre arm contains a small spring that’s strong enough to keep the needle where you want it.

All for the handsome price of £222, a bargain considering what you’re getting. Just remember: it doesn’t actually float, so maybe reconsider your purchase if you live with dogs, cats, or particularly clumsy housemates.

oddities

Grime artist JME is swapping his Integrity> album on vinyl for Pokemon cards.

In particular he’s after a shiny Charizard card in mint condition. We’re sure there are plenty of people scrabbling around under their beds for their childhood collection, but we wouldn’t be so quick to sacrifice those heirlooms just yet.

Either JME is being a bit crafty or he’s being incredibly naive: Pokemon cards in mint condition are worth a decent amount of money these days, with first editions going into the thousands.

Either way, top marks for originality.

gotta swap 'em all?

kickstart a floating revolution

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Little did they know that that Wombles album was worth a fortune




VINYL GRADING guidespin yourself some cash

1 IDENTIFY THE VERSIONA lot of records are pressed several times, and the difference between two different versions can mean a lot of money.Do your homework and you won’t walk away out of pocket.

Records are commonly graded using the Goldmine Standard: your LP is rated on a scale from Mint to Poor

depending on its condition. Honesty is the best policy here as collectors aren’t exactly known for overlooking small details. It’s best to be modest too: if your record is on the border between two categories then pick the lowest one. It’s better to be pleasantly surprised when the album arrives than disappointed, isn’t it? If you’re looking to buy then keep your eye out: most stores worth their salt will use the Goldmine Standard system.

2grade it

It’s all well and good getting the grading right but if you miss out a key bit of information you might get

yourself into a bit of trouble. Omitting the fact that a lyric sheet is missing from an album sleeve can be a deal-breaker for many so, as always, honesty is the best policy.

3 describe it accurately

If you’re looking to make as much money as possible you need to make sure you don’t sell yourself short. Although it

might seem tempting to sell straight to a shop, they’re likely to give you less to pocket more themselves, seeing as they have to make a profi t too. Selling through eBay is always an option, but Discogs is our favourite: record selling is their speciality and they have cheaper fees. Use the Goldmine Standard accurately and build up a good reputation!

4sell in the right place

goldmine standard

M Mint - Perfect in every way. There's no chance you've got any this good, frankly.

NM Near Mint - Almost perfect. Practically invisible signs of use. This is probably the highest grading you're ever likely to see.

VG+ very Good Plus - Some signs of use. This might as well be Near Mint, if it weren’t for the fact that collectors are a bit pedantic

VG Very Good - Pronounced defects like scratches and sleeve tears.

G+ /G Good Plus/Good - A common item. Plays without skipping but both LP and sleeve show wear and tear.

F/p Fair/poor - warped, broken, cracked: worthless.

Ignore our guide at your peril: near mint copies of the “Butcher” edition of the Beatles’ Yesterday and Today album (right) are valued at around $7,000, with the ordinary one going for peanuts in comparison.

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Shops like Spillers are great for trade-ins, but shop around



WISH LIST stuff you'll never own but wish you did...

Millennium Falcon Record PlayerGeek status: interstellar.

Created by Texas-based Marco Garza, this record player, dubbed the Millennium 1200 by Garza, combines an old toy with a Technics SL-1200 turntable. It took nine months to finish, with Garza strengthening the flimsy plastic with aluminium before adding the needle and turntable.

Being homemade it goes without saying that this isn’t for sale, but more pictures can be viewed on Marco’s Picotek Design website. Nothing stopping you from making one yourself though, assuming you’re mates with a wookiee.

Image: http://picotekdesign.com/millennium1200.html

Glow-in-the-dark Ghostbusters RecordA 10” glow-in-the-dark LP that features original, instrumental, dance mix and dub versions of the classic Ray Parker Jnr. theme tune to Ghostbusters. We shouldn’t have to say any more to be honest, but we’re contractually obliged to fill this space.

Even if you don’t like the song this ecto-green beauty is every collector’s dream. You’re guaranteed to be the only person you know to have one, but you’re also guaranteed for a bit of a trawl through eBay for the privilege. Limited to just 2,000 copies, it would probably be easier and cheaper to find a real ghost.

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EAT Forte TurntableRammed full of mind-boggling technology, the beautiful EAT Forte represents the pinnacle of turntable design.

The standalone, low-torque twin motor prevents vibrations from reaching the platter, which is powered by a diamond-cut sting belt providing both 33 and 45rpm. That platter is suspended on a magnetically-attached ceramic ball — meaning that despite its 20kg weight, it spins freely. Oh, and hi-fi guru Osamu Ikeda dampened the 12in chrome tone arm to minimise vibration. Like you couldn’t tell from the picture.

But there’s a reason you’re not reading about this in our tech section. If you want one you’ll have to consider the small matter of saving up £13,000 (Ed - that’s not a typing error). You could always ask for it for Christmas.


ION MAX LP Taking that first baby step into the world of vinyl is one thing, but you might not be ready to throw away your iPod just yet. Luckily ION has got you covered. The Max LP, while functioning as a standalone player, also doubles as a means to easily convert records into digital tracks. In terms of playback you do have the option to connect the turntable to your own sound system but you needn’t bother: the Max LP comes complete with its own built-in speakers that are of surprisingly high quality. The same couldn’t be said for its predecessor, the ION Pure, which looked great but was let down by performance niggles. The Max irons out those problems, and is all the better for it. High quality playback topped off with a slick wood finish, ION has effortlessly combined style, functionality and convenience in a record player that’s a far cry from your uncle’s dusty old turntable.

£67.99; ionaudio.com

Record Tech

STEEPLETONE LANCASTERIf you want to take a step further in the nostalgia stakes the Steepletone Lancaster certainly looks the part, but it’s far from outdated in terms of functionality. It has a three-speed turntable, two CD decks for recording and burning music and MP3 playback. If that wasn’t enough, it’s a radio too. The Lancaster is the perfect combination of the modern and the retro in one versatile music system. Just bear in mind that all of that comes with a fairly weighty price tag. This one doesn’t come cheap, but you get what you pay for in this business!

£254.99; amazon.co.uk

GPO JIVESold in most places as a “retro” turntable, this record player is anything but. The gleaming white finish paired with chrome feet is more reminiscent of an Apple product than anything else. Features include a three-speed turntable, CD player and FM radio. The standout addition here is that, if your laptop isn’t to hand, the Jive has a direct USB interface, allowing instant playback from any USB device plugged in at the back. Handy, we’re sure you’ll agree. Definitely worth shelling out for if you’ve got the cash.

£139,99; amazon.co.uk


our guide to your listening pleasure


CROSLEY REVOLUTIONEvery other record player resigns itself to sitting still, content in the knowledge it sounds better than those smug portables. The Revolution has changed that. A fully functional turntable, this nifty little device does away with all of the excess you’d usually find and sticks to the essentials: not much more than a needle, really. A battery-powered portable that pairs with any FM radio for clear, wireless sound, the Revolution also has its own little speaker. Not bad for a little guy. Just don’t drop it down the side of the couch.

$79.95 (£52); crosleyradio.com

CROSLEY CRUISERCrosley are at it again: not only is this turntable portable, it comes in a briefcase. A briefcase. Although it sounds like they’re trying to raise the hipster bar to new heights Crosley have, in all fairness, created a solid little record player in the Cruiser. It’s a simple plug-in-and-play setup with built in speakers that save space. They’re built with a modest sized room in mind, so anything bigger and you can hook this up to a separate sound system for better results.

As you’d expect this is designed for the music lover on the go: weighing in at just over two kilos, it’s easily carried from place to place. Obviously two kilos is still quite a lot considering how much an iPod weighs, but you’re not carrying this around to listen to this odd track on the Tube are you?

A reasonable price, easily transportable and a built in speaker all make for a neat little way to liven up a bedroom or living room. All in all, a handy and affordable turntable recommended especially for first-time buyers. It’s available in several bright colours and, if you didn’t think it would turn enough heads as it is, there’s also a limited edition One Direction version. As if there weren’t enough reasons to get one.

$99.95 (£65); crosleyradio.com

ION DUO DECKIf you’re trying to pre-empt the return of the cassette and out-retro your mates at the same time then this is the way to do it. This portable handles cassettes as well as LPs, with the added feature of a USB port to connect to PCs and Macs. The supplied software is extremely user-friendly, meaning you’ll be uploading your vinyl collection to iTunes in minutes. The tiny speaker leaves a bit to be desired in terms of sound quality so connecting it to a decent speaker system is recommended. Speaker problems aside though, all of the included features packed into such a small device for £60 can’t be sniffed at.

£60; amazon.co.uk






insidethemind ofclintboon

taking a break from touring with inspiral

carpets, djing at south and hosting his xfm show,

clint boon tells mark griffith about his views on

TODAY’S RECORD BUSINESS

CLINT BOON


‘m not sure what people mean when they say music’s not like it used to be. It’s better than ever,” Clint Boon says to me, showing he’s still very much the music afficionado. It’s clear from the off that music runs through the guy’s veins, and at the age of 56, he’s not let his advancing years slow him down.

It might as well still be the ‘90s as far as Clint’s concerned. Still sporting the Madchester haircut, he’s fresh off a recent tour playing keyboards with Inspiral Carpets playing alongside the likes of Echo & the Bunnymen, and he’s fired straight into the XFM offices early, raring to get that pronounced Oldham accent over the airwaves. In a few hours he’ll be doing a five hour DJ set at local nightclub South, something he’s done for 14 years. He keeps himself busy to put it lightly.

This incessant urge to stay productive is a result of a traditional working class upbringing. His mum and dad were incredibly hard working-- when they weren’t working at the cotton mill or in the family corner shop, countless other jobs kept the family secure in their house in the Oldham town of Shaw.

Taking inspiration from the family’s industrious nature, Clint held down several factory jobs in the ‘80s to keep his dream of musical stardom alive, eventually turning some empty offices into a recording studio. Recording demos for bands saw him pick up the tools of the trade quickly, attracting the attention of an unknown local band by the name of Inspiral Carpets. “That was the start of the ride,” he says. “Since then every week’s been a progression of sorts, a new chapter in the story. I’ve been lucky really, I was in the right place at the right time.”

Clearly he’s modest but this interview isn’t going to last very long if we chalk up his entire life to good luck. I get to work trying to delve a bit deeper.

Music is an integral part of your life. Where did that come from?As far back as I can remember I’ve been inspired by music, I was obsessed. My earliest memories are being obsessed with radio and my mum and dad’s records and stuff. It was obvious to me from right back then that music

was my biggest passion and that’s probably where I’d end up going. I fucking hated school and the only career options they were giving us were working for British Aerospace, working for the government, and a couple of others. Music was out of the question. But then punk came along. It fired me on, that new wave of music, it changed my life. That was when I realised that working class kids like me, you didn’t really have to be able to play an instrument that well to play on stage and make records. People like Buzzcocks and The Fall, they weren’t great musicians but they did it.

What would you have done without it?If I’d gone a normal route I’d have been an art teacher. I always had a thing for art, if I’d have stayed at art college I’d have gotten my diploma and ended up teaching art I think. I could still see me doing that now, if someone said: “Do you want to take a break from what you’re doing and teach?” Probably art more than music, I could teach the history of music but I’m not that good a performer that I could teach people how to play. I could teach the history of how we ended up where we are, I think that’d be nice. But to be honest I’d be completely lost without music. The only two things I care about are my kids and my music. I rarely get any spare time but if I’ve ever got any I’ll paint some shit in the garden or something. But even that’s for the kids, keeping the house together for when it belongs to them.

It’s safe to say you don’t like to sit and twiddle your thumbs. You’re right! I do think of myself as an incredibly lucky man but a lot of it is because I get out there, I do things, I help people, I meet people. I don’t sit at home waiting for things to happen. One of the best lines that Noel Gallagher ever wrote was: “You gotta make it happen.” That’s one of the best lines in a pop song ever written. You could be the best songwriter in the world but no one’s going to knock on your door and ask you to write a song. That’s not how the world works. I got into radio through perseverance and I constantly strive to get better at it. I’m not chasing awards or anything but I like the idea that I make a living on the radio, five days a week. Especially with this accent!

What’s the scene like in Manchester now?Because I’m on the radio and DJing I’m aware of what’s happening. There’s a constant creativity in this city, there

always has been. There’s always people making amazing music. Sometimes you have to go a bit underground to see it but it’s there. What I like about Manchester is even when there isn’t a Madchester scene, loads of bands like the Inspirals, the Roses, Happy Mondays, James, even when there isn’t a scene and even when the world isn’t looking at us we make Oasis or Simply Red or Elbow. These iconic bands.

Is that lack of a massive Oasis-type band the problem?Generally. They need to dig a bit. People work all week and then go to the pub with their mates, that’s not the way to do it. You need to actually look, follow bands on Twitter. It’s still there, it’s still happening. The next generation of great Manchester bands is rehearsing in a basement at this moment in time. When people say there’s nothing happening what I hear is: “I’ve stopped looking.” In Stockport, for example, there’s a great little band called

Blossoms, and a girl called JJ Rosa who’s destined for stardom. She’s like Amy Winehouse and Hendrix rolled into one, she’ll be a household name one day. I think if you stop looking for new music a part of you is dead; to me it’s one of my favourite things in life, enjoying what I’ve grown up with but always reaching into my bag to listen to some CD that some kid’s given me. I’m listening to a band called Mad Winter at the moment, they’re just a group of lads studying at college and they’re great. So I still get as excited about new stuff as I do about listening to an old Elvis Presley record that I first heard 50 years ago. Music’s what drives me, it always will be, it’s my fuel.

Why does Manchester in particular have that creativity?I’m not sure if there’s a magic formula or anything but I think we are the most prolific music city in the world. Places like London and New York might create more bands but that’s because

iIm

ages courtesy of Clint Boon

Another hit in the making

“Could the owner of a blue Ford please speak to a steward.”


CLINT BOONthere’s millions of people living there. Here there’s about three million but we’re constantly making these amazing records, we always done since the 60s. There’s loads of venues now too, as well as designers. Not to mention the BBC, the best in the world in terms of broadcasting, which is down the road at Media City! If you’re a creative person it’s a great place to be, it’s the centre of the world. You’ve worked at XFM and South for many years now. What is it that’s kept you from looking elsewhere?There’s an instant kick that you don’t get in any other profession, not even in the band. With Inspiral Carpets we spend a few weeks writing a song, then we spend a few more rehearsing it, a few days recording it, then we start gigging it. From the idea of writing a song to seeing an audience moved by it can take months or years. When you’re a club DJ it’s instant gratifi cation. Radio’s a bit like that. Even though I can’t see the people, I feel it. You see it on the social networks, you meet them on the street the day after. So there is an immediacy even though you don’t see the reaction. I’ll say something in the studio and I’ll be laughing, my producer Gaz’ll be laughing, you don’t see the audience laughing but I know they are. I like the immediacy but with a band it’s a different pace completely.

Vinyl’s back and selling well, too. Is that a good thing for up and coming bands?Streaming and downloads is a controversial topic. It’s good for sharing and fi nding new music. But don’t abuse it. Free music: once you’ve decided you like

it, buy it, it’s keeping the artist alive. In terms of vinyl; whatever mediums are around a band in whatever era they’re in, you need to embrace them. When we started the Inspiral Carpets it was cassette tapes. Now it’s Twitter -- people will send me a link to their band and if I like it I’ll play them on XFM at night.

Do you collect vinyl yourself?I love it. I can’t walk past a charity shop without having a look. I collect unusual stuff: I’ve got a 78rpm, yellow vinyl, 1930s 6” record of kid’s nursery rhymes. You couldn’t tick more boxes there, for obscurity. The last record I bought was a record of Winston Churchill’s speeches. Immaculate. An original pressing from sometime in the 1940s, Hitler was still alive because he were talking about him. It’s approved by Winston Churchill, so it’s an authentic record from when he was alive. I got it for fi ve quid and it’s in mint condition. So I get excited about things like that, adding to the collection.

There’s defi nitely something about it isn’t there?Tangibility, I think they call it. You can touch it, feel it, smell it. I could pick any record from my collection and remember roughly when I got it, how I felt when I fi rst heard it, who I played it to. It’s a different set of experiences than just clicking on an MP3. It’s almost the difference between having a photograph of your missus and having your missus sat next to you. MP3s are good for DJing though. They’re convenient and you can’t spill drinks on them. A fi ve hour set with CDs is diffi cult. They end up everywhere and absolutely fi lthy by the end of the night. With iTunes I can line up the entire night with no issues at all. I can drink to my heart’s content! Although, saying that, I’m fucked if I get Red Stripe on my MacBook.

Will it inject a bit of passion back into music? I think so. I know a girl that collects vinyl and she doesn’t even have a record player. They’re not even expensive! But she’s not arsed about playing them, she just loves the feeling of having that collection in her room. She actually listens to it all online.

When I was young I couldn’t wait to buy the NME, it was written by these people who were like poets to me. Now no one buys it and it’s had to become a free magazine. It might just be down to crap journalism, but I don’t think kids today care as much any more. So vinyl might get them excited again.

You mention photographs – are memories important to you?As human beings I think most of us want to save things that mean something to us. When you’ve got a record you bought because you’re in love with it at age 15 and you played it to your girlfriend when you got home. It’s an

endearing format, the record – cassettes are coming back into fashion but I don’t think it’ll have the same impact. Saying that it is a nostalgia for a certain era. I used

to hate the crackle at the start of a tape and now it’s my favourite bit, I can’t wait for it.

Speaking of nostalgia, once upon a time you used to put on little tea parties…I did! My wife got into making homemade cakes before anybody else. In 2006 it wasn’t a fashionable thing. People couldn’t believe it. I started bringing cakes to bands I was interviewing and after that we decided to put on the fi rst “Mrs. Boon’s Tea Party” in Manchester. I’d put a band on, my wife would serve the cakes and I’d play records. That became the template, we did it every week. We had about 150 people every time, I’d be playing vinyl on proper old record players, tea and cakes would be served on vintage china and then Franz Ferdinand would be playing, or Maximo Park, or The Enemy. They’d turn up and do it for nothing because we were mates so we’d have this amazing scene: fairy lights, everyone eating cake, and Alex Kapranos (Franz Ferdidand frontman) sitting there with a guitar. We stopped when my wife was pregnant and hated cake all of a sudden. Of all the things to stop liking! Next thing you know these cupcake shops pop up everywhere, making an absolute fortune. So we missed the boat on that one. If that’d carried on I wouldn’t have to work now, that’s how popular they were. If you asked all of those shops I bet they would all cite us as their

inspiration. Saying that, no one else can do the tea parties, so we’re launching it again at Kendal Calling. When it comes back it’ll be big news, no one else is doing rock ‘n’ roll tea parties are they?

What’s next for you at XFM? Can you see yourself sticking around for the foreseeable future?Something big is happening at XFM but none of us know what it is yet. We know Chris Moyles is coming on board to XFM London, so that’s big news for the brand. There are a couple of other big names coming too, but we don’t what’s going to happen to us yet. They might sack us all, they might move us around. That’s the wonderful world of radio, I guess. It could be the end of some of the shows we have at the moment. If someone gave me a 20 year deal I’d fucking sign it, I love what the job entails. I like the fact it’s me talking to this city that I’m from, playing records that I love and I’d buy. But if it ended tomorrow I’d be alright. The tea parties are ready to go at a week’s notice!

Do you reckon SPIN can get fi rst dibs on a few tickets?As much as I’d like to I don’t think that’s fair on the rest of ‘em. You’ll have to send us an email like everyone else! You’ve got the jump though, you know it’s coming. Once it’s up and running you can do a feature on it and give us loads of exposure! I might think about some free tickets then. Or some free tea and cakes at the very least.

I’m sold. Clint’s defi nitely got a way with words, and I could sit and listen to his boundless enthusiasm for hours. But unfortunately I’ll have to do it the normal way: he’s about to go on air. When he fi nishes in a few hours he’ll be straight out of here and down to South to prepare for his fi ve hour DJ set. We should count ourselves lucky: if Noel Gallagher had written lyrics to the tune of: “Sit on your arse and don’t bother,” we would have a distinctly Boon-less world to live in. Not a nice thought.

Inspiral Carpets’ latest album is available on vinyl now via Cherry Red. Clint plays at South in Manchester every Saturday night. His XFM Drivetime Show airs between 4pm and 7pm Monday to Friday. Mrs. Boon’s Tea Party will be returning to Kendal Calling.

Follow Clint and Mrs. Boon’s Cakes on Twitter:@therealboon@mrsboonscakes




NORTHERN SOULNobody bats an eye when they see a group of bearded

men sitting outside a café and sipping tea. It’s entirely commonplace to go from sampling craft ale to rifling

through rare vinyl imports from Sweden. If you wanted to see an art installation, chances are you could fi nd one. This is Manchester’s Northern Quarter, where the weird is normal and the extravagant is ordinary.

Taking a stroll around the Northern Quarter today, you’re spoilt for choice for places to go and things to do. It’s a thriving hub of oddities, creativity and unique delights, from trendy bars, coffee shops, craft ale pubs, vintage clothing shops to record shops of every description. If you were to have a night out here there’d be a decent chance of you running into a celebrity. Footballers like cocktails, apparently.

Because of its popularity you’ll need deep pockets if you want to live round here: a flat would cost you an absolute fortune now. Think of it as the North’s answer to Shoreditch in its heyday and you’re pretty close. You’d be forgiven for choosing this particular borough as your favourite part of the

city. It’s got it all.That applies especially to record shops. Apart from little

pockets of resistance fi ghting the good fi ght, your friendly neighbourhood record shop has taken quite a battering across the UK in recent years. Manchester’s Northern Quarter however, has become something of a Mecca for musos, a Valhalla for vinyl, a Nirvana for... well, you get the idea. Everything from heavy metal to world music is covered in what has affectionately come to be known as Vinyl Valley, and whatever you’re looking for is always just a street away. No Tube rides here, sorry London readers. That Manchester has come to be known as home to, amongst other things, one of the most diverse ranges of record shops anywhere in the UK is testament to the city’s musical history.

It wasn’t always like this though. Flash back 20 years and this area of the city would be unrecognisable to your hipster-sensitive vision. Boarded up windows were a common sight. Living anywhere near it was out of the question. The fanciest thing on Oldham Street, now home to several record shops, ale pubs and the ever-popular Afflecks shop, was an Argos. We’d be willing to bet the catalogues weren’t even laminated.

The “Northern Quarter” as we know it didn’t really exist as a distinct area until the 1990s. In the ‘90s the record industry was failing, and the area that was to become everything that embodies creativity in the city today became the last refuge for a music scene that was circling the drain. A “community” arose out of the desire to keep it alive, but it was widely accepted that the record shop was dead. That didn’t stop them from trying though: cut to around 1995, and several new record shops has opened in the there. For several years after this the area would begin to experience reasonable success; shops like Fat City Records, Vox Pop and Spinning all flourished in a time where digital downloads were were yet to become commercially viable.

The rise of services like Napster soon hit though. A few years after that CDs took over. Then iTunes dealt a killer blow. The recession was almost the fi nal nail in the coffi n, but a resurgence in the popularity of vinyl saved the day. So is it smooth sailing from now on?

MANCHESTER'S GOT

SPOTLIGHT: manchester

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“This is why you don’t advertise your birthday party on Facaebook.”


NORTHERN SOUL MANCHESTER'S GOT


Oldham Street through the years has seen a dramatic

transformation. Where once there were boarded

up shops and an Argos now sits a Turtle Bay and

several record shops. You can no longer buy cheap

kettles here unfortunately.

The long road togreatness

t’d be easy to think that Manchester’s most creative of spots couldn’t possibly relapse into the state

it was once in. But things can change. The best way to guage the ebb and flow of the area is to talk to someone who’s seen been on the frontline through most of it. Matt Ward works for Piccadilly Records, a long-running independent store, and has seen the shop thrive in the good times and dig its heels in through the bad.

“It’s easy to say it’s nice around here now but you don’t know the journey it’s gone through, and how hard it will be to hold on to what we’ve achieved. Manchester in the ‘90s wasn’t like what it is now. The Northern Quarter was quite a rough place. You wouldn’t walk down Oldham Street late at night. That keeps rent very low on buildings; a lot of the record shops were independent busineses and coldn’t afford bigger premises. So what

generally happens is that areas of creativity build up around areas of deprivation, it’s a standard model that occurs throughout the world. Generally because creative people haven’t got that much money to start off with!”

Success rising from the ashes of adversity. Good news for all involved, surely?

“Well, the problem with success and popularity is that

it increases the rent! Five years ago there were twice as many record shops around here but the rent forced them out. The bigger places like Piccadilly Records, Vinyl Exchange and Eastern Bloc, we’re all established names with faithful followings, so we have the ability to weather the storm. We’re reaping the rewards of that determination now, but it’s still tough going.”

But surely the recent sales of vinyl, the highest they’ve been for decades, can only mean good things for record shops?

“This is the best it’s been in about 10 years, yes. But let me put that into perspective: in the ‘90s, when a new Smiths album or New Order album was released there’d be people queueing down the street for it. One time we sold 5,000 copies of a record on release day. Nowadays we’d be lucky to sell 300. That’s 300 more than we were selling a few years ago but still, there’s a long way to go before it becomes a lucrative business again.”

From the sounds of it there could be a danger of the place entering into a kind of self-destructive cycle: success increasing the rent, eventually forcing out the businesses and losing its appeal with customers.

“I think it’s stable now. There’ll be ups and downs, that’s only natural, but I think the area now has a bedrock of support that will make sure it won’t ever completely run out of steam. Credit to the UK: when they see N

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Matt Ward keeps a watchful eye over his vinyl kingdom


scratch the surfaceit’s not just records that the northern quarter has up its creative sleeve...

dusk 'til pawnBlink and you’ll miss it: cleverly disguised as an old pawn shop this little place is actually a bar, and one that prides itself on its array of cocktails, fantastic Bourbon selection and craft ales. An original parquet floor, banquette seating and a free play jukebox are the cherry on the cake.

almost famousManchester’s worst kept secret, Almost Famous looks like a boring office block from the outside but is actually a quality burger restaurant if you venture past its deceptively dull exterior. It has since gone on to mainstream success but it’s worth going to the original to see where it all started.

matt & phred'sThis smart little venue regularly hosts gigs from jazz, folk, gypsy, electro and swing artists. As well as live music seven days a week, the bar and kitchen are on top form too. Top picks on the menu are the pizzas and the sharing platters, and a fine selection of wine and cocktails make Matt and Phred’s the essential visit for anyone with a working brain on their shoulders.

an area struggling, they help it. We love an underdog here don’t we? Whether it’s regular customers or press articles, the attention helped enormously. When the recession hit in 2008 and the money really fell out of it we were having emergency meetings every week. Making cutbacks. Planning for shutting down. Attention from the public and the press gradually saw us get back on our feet.”

Here to stay, then. It’s hard to disagree with Matt when you see the turnout for an event like Record Store Day. The yearly event takes place every April and is a celebration of vinyl and the stores that sell it. This year saw rare releases by the likes of David Bowie, Noel Gallagher and Bruce Springsteen, for which countless dedicated music lovers queued for hours to buy. Some even camped overnight to stake out a place at the front of the lines that snaked all the way through the Northern Quarter (pictured above). That’s not the image of a fanbase that’s willing to give up on anything any time soon.

It’s not just diehard maps that this place features on. The Northern Quarter has started to show up on Hollywood’s radar too. If anything is a guage for the success of an area it’s movie stardom and this little corner of Manchester has seen its little taste of it over the last decade. In 2011 parts of Dale Street were transformed into the Big Apple, complete with ‘40s era cars and New York street signs, for the filming of a chase scene in Marvel’s Captain America: The First Avenger. On top of that, five years later Guy Ritchie chose it for the filming of several scenes in his adaptation of Sherlock Holmes. In both instances the location was chosen because of its towering buildings and pre-war architecture. Hey, if it’s good enough for Robert Downey Jr. and Chris Evans, it’s good enough for us. Check out spinmag.com if you want to see videos and an image gallery of the Captain America shoot.

Of course, no self-respecting home of the hipster would be complete without a pulsing fashion scene. Though the stock image of a Mancunian you’ve got in your head is either Liam Gallagher in full parka atire or Paul Weller rocking the distinctive haircut (or Clint Boon for that matter), independent boutiques like Note and Oi Polloi feature bespoke clothing you’d struggle to find anywhere else.

There aren’t many places you’ll find an American diner next to the tramlines, but here we’ve got one in the form of Infamous. How about a coffee shop where the food is free and you pay for your time? There’s even a new bookstore that’s aiming to push the boundaries of convention. With their sights set on becoming the city’s biggest independent book shop, Chapter One Books combines a traditional book store with a café and peformance space In much the same way that vinyl is a reaction against digital music,

it seems the book has become a defiant stand against the popularity of the Kindle. There must be something in the water, but it just goes to show how much of an astonishing

place it is especially considering it only consists of around five streets. It’s impossible to say whether it will remain successful for years to come, but the odds looked stacked in its favour. Not counting the restaurants, bars, coffee shops and clothes shops, the vinyl scene alone is probably enough to keep it bubbling over. From Vinyl Exchange to Piccadilly Records, from Eastern Bloc to Vinyl Revival, the Northern Quarter has shown it is a solid bastion of the vinyl scene, and one that’s prepared to put up a fight if things go sour. It’s a creative hub that’s more than just a passing phase: it’s earned its place in Manchester’s history books for showing grit and determination. For having Northern soul.




vinyl tap

EASTERN BLOC: MANCHESTER

Why did you decide to double as a café?A lot of people compare us to places they’ve been in Amsterdam. I think it works

very well having the café and the record shop, it’s a bit more relaxed this way. You can come in and have a brew and a sarnie, have a look through the racks, and listen to what we’ve got on on the speakers.

Does the café aspect lend itself to vinyl culture?It’s a more social environment. People can interact: people that aren’t even into vinyl come and chill in here. It’s a good mix of people, a good mix of backgrounds. You can come in with your missus, your girlfriend, your nanna, whoever! That’s an atmosphere you don’t get everywhere and I’m proud to have created that in our humble little shop.

Would it work outside Manchester’s Northern Quarter?It could, but it’d be harder. It’s a hotbed of creativity here and we’re now an established name. Coffee nuts and vinyl freaks know to come here now!

Q & A manager JIM SPRATLING

rise: bristolRise seems to have gone through a list of cool things and ticked them off one by one to create their record shop. Regular in-store gigs? Check. A café? Check. A quiz? Sold. Anyone in their right mind knows you can’t beat somewhere that does a quiz.

There are extra Rise branches in Worcester and Cheltenham but it’s the Bristol store that cuts the mustard this month for perfectly summing up what an independent record shop is all about.

Pie & Vinyl Record Cafe: SouthseaGuessed what they sell here yet? Specialising in new music Pie & Vinyl sells records released within the past two years and, not surprisingly, pies from local butchers.

Everything about this record shop screams authenticity: the tea is produced in nearby Portsmouth, local artists are supported, and even the furniture is produced down the road. Also on offer are one-off posters for bands and tours which are individually framed at Southsea Gallery.

Before you even get to the shop’s Record Room you could spend a good amount of time admiring the art on the walls: new releases and poster art are displayed proudly as you enter.

More like a cosy living room than a shop, this great little place combines a love of music with one of England’s favourite comfort foods From the smell of delicious pies, the sound of up-and-coming local talent, or the sight of new releases on the walls, Pie & Vinyl is an experience for every sense.

Celebrating its 30-year anniversary this year, Eastern Bloc is a long-established store that specialises in electronic music, catering for techno, house, drum and bass, and dubstep fans. Jazz, hiphop, and world music are also sold here, so chances are there’ll be something that suits your taste. Speaking of tastes, Eastern Bloc doubles as a café, meaning you can have a brew while you’re listening to the latest records. Even if you’re not in a record-buying mood their strawberry and chocolate brownie is enough reason to pop your head in the door. The staff are always willing to go the extra mile too, so don’t be afraid to ask them if you’re a bit lost. They’re a knowledgable bunch, so it’s always worth asking them for a recommendation or two as well.

This place is also personal favourite of cover star Jon Dasilva, so get yourself down there to see what the fuss is about!

this month's must-visit shops


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probe records:liverpoolYou’d expect the home of The Beatles to have a few decent places of musical pilgrimage. There’s only so many times you can visit the Cavern after all. Luckily the legendary Probe Records has got you covered. For more than 40 years Probe has provided the Liverpool faithful with a wide variety of LPs, also nurturing local musical talent via its own record label.

Founded in 1971 the shop was the brainchild of Geoff Davies, a man who couldn’t find his favourite records in the city and decided to take the matter into his own hands. Opening up Probe with his savings and quickly filling the place with everything from jazz to folk records, a cult following rose in no time flat. This fanbase led to the creation of the Probe Plus record label, an 80s suc-cess that signed bands such as Half Man Half Biscuit.

Today its legend status might have diminished slightly but the enthusiasm for new music remains as strong as ever. Probe regularly stocks releases from underground bands as well as highly sought-after first editions and rarities. It goes without saying that the staff know what they’re talking about too.

kingbee records: ManchesterIn terms of Manchester’s music scene it would be very easy to dedicate a massive chunk of this section to the Northern Quarter alone, so we’ve gone with somewhere a bit further afield for this one.

Operating in the decidedly artsy suburb of Chorlton, Kingbee is your archetypal funky record shop. It’s been there since 1985 and we can’t imagine it’s changed a lot since then. If you’re after a standard, cheap rock album to tide you over until a bigger release then Kingbee has got you covered. On the other hand, if you’re after a rare 7” then you’re also in luck: be prepared to dig through plenty of boxes for the dusty delights within.

Covering every musical genre imaginable, this is a great place to find secondhand vinyl at wallet-friendly prices. They know their stuff though, so don’t expect to blag yourself a rare LP for £1.

The Music Exchange:NottinghamMore than simply a record shop, the Music Exchange describe themselves as a “social enterprise,” offering volunteer opporuntities to Nottingham residents. Also collaborating with businesses lke Framework and Eve Trade which provide meals, showers washing machines for homeless people, you’d be safe in saying Music Exchange goes the extra mile for the community.

Music-wise they’re not too shabby either. They regularly stock new releases and classic reissues, but the big draw here is the massive local talent section of vinyl and CDs, stocked commission-free to support the labels and the artists.

Regular in-store events and gigs, books, fanzines, T-shirts and gig tickets are also available, the Music Exchange can do no wrong.

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Jumbo records: leedsJumbo by name, jumbo by nature. This appropriately named store has had to change to larger premises several times in its lifetime. Having started up in 1972 in Leeds’ Queens Arcade, it moved to the Merrion Centre for more room. In the ‘80s it had to upscale again so it moved to the St. Johns shopping centre, where it remains to this day.

You’d be hard pushed to find an

independent record store in a shopping centre these days, which makes the sheer size and success of Jumbo all the more impressive.

While the prices of crossover records - albums by popular bands you might find in most high street shops - are more expensive than the prices you might find in say, your local supermarket, it’s not in those albums that you’ll be getting the most out of what Jumbo has to offer. Rare 7” singles from obscure bands, albums from the ‘70s that you feared were all but extinct. That’s where places like this come into their own.

They sell gig tickets too, an underrated addition that you rarely see these days. When was the last time you bought a gig ticket that didn’t have a service charge lumped on top of it? Ticketmaster have been getting away with that one for too long if you ask us.

Jumbo is a long-standing Leeds institution that deserves your support. You may well decide to explore the inner workings and quirky smaller shops of the city once you’ve got the time, but as a starting point this stalwart of the music scene is no better place.

sound it out records: teesideOften featuring in lists of the top record shops in the UK, Sound It Out has been a vinyl institution in Teeside for years, and is a spot of yearly pilgrimage for locals, especially on Record Store Day.

You’ll quickly get to know some familiar faces if you’re here often, as the regulars visit with an almost religious enthusiasm. From youthful metalheads with a detailed knowledge of obscure genres to grandfathers with a penchant for 80s soft rock, Sound It Out is a warm and friendly place that welcome all kinds. You’ll feel like you’ve been coming here for years. Which most of the customers have, to be honest.




monorail: glasowTucked away in the corner of a vegan pub, Monorail is an unassuming little place. Ignore it at your peril though. Hailed by many as Glasow’s finest record shop, Monorail has been selling rare, interesting records since 2002.

The odd location is care of co-owner Stephen McRobbie of the Glasgow band The Pastels, who knew from personal experience that a traditional store wouldn’t last long. The result is a quirky and warm place that’s full of character, with a genre-spanning collection of records and knowledgable, friendly staff to boot. You can always pop next door for a pint when you’re done too.


rough trade east: londonLondon’s Rough Trade East, younger brother of the much older Rough Trade West, opened in 2007 and has become one of the biggest independent stores in the country. Rough Trade famously gave birth to the legendary record label of the same name, putting out records by The Smiths, The Strokes, Buzzcocks and more, and its legacy lives on in this newer store.

Opening in a time when rents were stratospheric, Rough Trade East sounded a rare note of optimism in a time that wasn’t willing to bet on a declining format and competition from online. Now reaping the rewards of its dedication, it manages to capture a similar feel to the original branch, which was founded in 1976, while remaining very much of-the-moment; Rough Trade East often plays host to fi lm screenings and talks on fi lm and literature. It’s also essentially a small gig venue: it regularly has in-store gigs from the likes of Foals, Drenge and Wolf Alice within its four walls. We’re not too sure what the acoustics are like in there, but it’s impressive nonetheless.

In a trend that’s become increasingly common in recent years this record shop also has a café at the front, with tea, coffee and cake all available as the perfect way to accompany a record or kill a bit of time before a gig. We’re not complaining, records and food is a winning combo in our book. This combination transforms Rough Trade from a shop into a cultural hub, not somewhere to simply buy things but somewhere that allows people to hang out and celebrate the art and not just the commodity.

This newer store might not be as steeped in nostalgia and mystigue as its counterpart but it’s still an unmatched source of musical knowledge: it’s yearly Top 100 Albums list is unmissable, and it’s seen its fair share of famous musicians through its doors that agree.

crash: leedsCrash Records has been an integral part of the Leeds music scene since opening its fi rst shop in 1985. The yin to Jumbo’s yang, Crash makes up the second half of Leeds’ dual-pillar of independent record stores. Having operated for almost 30 years, Crash acts as both a great record store and a hub for buying gig tickets. Admittedly the place is absolutely tiny, especially in comparison to its brethren elsewhere in Leeds, but that should never get in the way of any music lover.

Friendly (often beardy) staff are always on hand to lend their expert advice -- even if you don’t want to buy anything, it’s always worth popping in for a chat.

Is there somewhere you spend hours flipping through vinyl? Where the staff know what you’re looking for even when you don’t? Let us know and it could feature in next month’s issue. To give you a bit more of an incentive to get involved we’ll enter you into a prize draw for our Spotlight Album once your suggestion is registered. So you’ve got no excuse now.

get in touch:

@SPINMAG

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@SPINMAG

SPINMAG.com

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spillers records: cardiffIt would simply be an insult to not include Spillers in our fi rst issue. It’s the oldest record shop in the world, having treated its customers to the latest sounds since 1894, and has survived several moves. The current premises is housed in Morgan Arcade and from there it hosts its ongoing commitment to vinyl while supporting local talent in Cardiff. It’ll probably still be there in 2094.



THE PRODIGALSON RETURNS

No longer a familiar face in Manchester, Jon Dasilva

recounts his golden years at the world-famous Haçienda and

explains how the DJ scene has changed since he left



t’s a quiet afternoon in Manchester, and a typically drizzly one. Sat outside

a café smoking a cigarette, Jon Dasilva cuts a calm and reflective figure -- 25 years ago I imagine it would have been a different story. Just a stone’s throw from where we’re sat stands an apartment block where the Haçienda once stood, the legendary club at the centre of the Madchester era in the early ‘90s. Originally attracted here by Factory Records and post-punk bands like The Fall and Joy Division, he was quickly offered a residency at the club, starting in July ‘88. All of that is a distant memory now and Jon no longer calls the city his home. He’s actually on his way to the airport to DJ in Sweden. Alright for some. So how does today’s jetsetting lifestyle compare to the glory days all

those years ago?“I hate travelling! I still do a lot.

I was in China two weeks ago, Shanghai and then Hong Kong. But it just kills you. Just this weekend it’s been a slog getting around, but it’s part of the job I guess. I’d prefer a residency, residencies are the ideal for any DJ. The last time I had a residency was probably Sankeys when it first opened and I did it so sporadically that you could hardly call it a residency. You build a rapport with the crowd with a residency, they get to know you and and the music you play so you can start to create a vibe or a scene within the club. I was at the Haçienda from ‘88 to ‘91, those were the halcyon days. When it was still vaguely radical, still vaguely creative… I think it went very commercial after that.”

Within six months of moving to Manchester he had the job. They clearly saw potential.

“I brought a Balearic style to the place, a style of playing that I think came from New York where any record that made people

dance was usable. It could be an Afro Rock record, it could be a straight up rock record like Led Zeppelin or a disco record, and it would be a mixture of that. Francis Grasso was one of the first guys to really try to get a continuous mix going on, so I took inspiration from him.”

It’s this creativity that is perhaps lacking from the scene today; Jon has been DJing for an impressive 28 years so he knows better than most the effects that technological advancements can have on his world.

“The companies have gone out of their way to make it as simple as possible. It should never really be about mixing as such: it’s about imagination. Mixing is a craft that you learn to be able to expand your own ideas, as much as you learn to chisel to be able to make a sculpture. Chiselling isn’t what people come to look at, it’s the finished product. Those building blocks shouldn’t matter, but a lot of DJs today never take the opportunity to go beyond just mixing in key

and in time. I’m still old school in that I prefer to rely on the artistry of the producer involved. I do edit people’s work but I tend to use people’s artistry and weave that together to create my own sense of the world. My set, my own understanding, rather than remixing everything live which is what you can do now. It’s heavy duty for you and the crowd. You need some recognition of the tune. I’m not against technology at all but most of it isn’t being used very creatively, it’s making

it very easy for a lot of people that can’t be bothered to learn to mix. The most important thing is the programming and your taste in music so it shouldn’t really matter how you get there.”

The resurgence of vinyl is

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“A label isn’t worth its salt unless it’s putting out vinyl...labels should have

the balls to do it.”

This isn’t what Jon had in mind when he’d asked for mood lighting

surely a positive sign then: a list of files on a laptop library doesn’t exactly scream creativity.

“As an artefact it’s much nicer to have a piece of vinyl than a memory stick. It’s better for the artist and the label too. There’s a business model now, with the likes of Steve Cobby from Fila Brazilia, where you self-release using BandCamp and go for high end album covers and add ons. You’re spending £25 on an album, you’re supporting the artist at the same time. In terms of collecting them myself, I prefer it, it feels like a real release. If something comes out on vinyl, it’s exciting to have it in your hand. It’s not quite so exciting to see it on Beatport or iTunes or whatever. It’s always exciting when your label says they’re putting it out on vinyl. In many ways a label isn’t worth its salt unless it’s putting out on vinyl, it’s almost a prerequisite of being taken seriously as a label, to actually have the balls to put things out on vinyl.”

Downloads shouldn’t be written off entirely though. It’s all well and good arguing for the aesthetic niceties of the LP but the practical uses of digital music can’t be denied, especially for a DJ with a bit of a dodgy back.

“I don’t prefer playing vinyl live to be honest. I was playing vinyl on Friday and I was like: “God, this is hard work!” It’s that practical side, spinning it back, finding the start of the groove... You wear out the start because you’re going back to it so many times, which makes it jump. And yes, they’re bloody heavy. DJs today have got it easy! So when I buy vinyl, I digitise it. I get the best of both worlds that way. There’s so much stuff you can only get on vinyl. They might bring something out on vinyl for the first six weeks and then the digital will come out, so if you’re not buying records then you’re six weeks behind. If it’s a good tune you don’t want to be in that position!”

A wait of six weeks is clearly too long for a DJ that’s forever trying to stay on the cutting edge. But it’s not necessarily just in new music where keeping the vinyl faith pays off.

“It’s the best way to stay fresh. The best way to find a rare track that no one else has heard, digging through a box. When I first started DJing it was about going to record shops. I had a complete circuit of Manchester that involved the more obscure record shops that sold afro and world music. Then there’d be the straight up R&B/soul kind of vibe and there’d be Eastern Bloc which would be much more across the board. And then there were the second

audience. It’s your job to pick out the best stuff for them. It’s hellish because of the amount of downloads available. The statistics are quite shocking, there’s something like 30,000 downloads a week released. Apparently the average sale on Beatport is one, and that’s probably the producer who’s bought his own track. It’s depressing but that’s the thing with downloads: there’s no great expense for a label to release a download so they release stuff every week. Some of it shouldn’t even be released: if you couldn’t justify a vinyl release, why are you releasing it? In that sense the amount of music available is a negative, but choice should never really be a negative: you’ve just got to have the money!”

So we’re pretty much certain at this point that vinyl, although a pain in the arse to DJ with, is great for artists and labels and is much more of a joy to own. But what of the much-debated issue of sound quality?

“Assuming you’ve got a well-pressed 12” I don’t really hear the difference between that and a WAV (a widely used digital format). Generally you’re not going to hear the difference because of the acoustics in the club. It doesn’t matter how good the sound system is if the acoustics are off. You can spend £10,000 on a Funktion-One but then put it into a shit room. You can try and tune it as

much as you like, it’s still a shit room. Clubs are rarely new builds, they always tend to be warehouses or whatever space that’s been repurposed for clubbing. It’d be great to get involved with an architect to create the right acoustic space for a sound system, but then you’re talking about hearing the difference between a WAV and a piece of vinyl and I don’t think you can hear it.”

If there really is no difference between the two then surely the idea of faffing around with a record is redundant? It’s far easier to plug some speakers into your laptop if the sound quality’s basically the same.

“Not at all. I still listen to vinyl at home, there’s nothing better. I like the format: the attention span for most adults is about 20 minutes so the idea of a CD that’s 90 minutes long is a mockery. I don’t think anyone really concentrates for that level of time, or wants to.”

The irony of this profound statement is that Jon cuts our chat short at this point: he’s got a plane to catch, after all. His parting shot?

“Sweden’s got nowt on Manchester, mate.”

a model

mancunian

hand shops in between. You worked your way round on a weekly basis trying to find interesting stuff. Now you’ve got the internet, you hear a reference from somebody else and you’ve searched it instantly. That’s great, but there’s something about discovering it yourself, by accident or otherwise.”

The internet has given us an almost limitless supply of new music to plough through. Now you’re a click away from whatever you want: YouTube alone probably has every album you could think of off the top of your head.

“You could say that there’s too much choice now. As a DJ you filter the music down for the

Lovingly recreated by local Nick Hardy, this scale model

featured at the Hacienda’s 30th anniversary rave and is about

as close to the original as you’ll ever get...

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L E D ZEPPE L IN - CODA REMAST E RE D

Despite the frequent rumours that surface of a reunion tour, chances are you’re never going to witness the spectacle of a live Led Zeppelin

show. Even more implausible is the likelihood of a new album. Luckily there are more than enough classics to revisit, and the recent series of reissues, complete with a ton of bonus material, have been the perfect excuse to do just that.

The band’s fi nal studio album, Coda, is the next (and last) to hit the shelves: with remastered tracks, alternative mixes and new songs, you’ve now got even more reasons to listen to the swansong of a rock giant. Coda was Led Zeppelin’s ninth and fi nal

studio album, and it was a resounding farewell from arguably the biggest rock ‘n’ roll band to ever walk the earth. Having said that you’d be forgiven for not being immediately familiar with it. Where classic albums like Led Zeppelin IV and Physical Graffi ti were home to instantly recognisable tracks like Kashmir and Stairway to Heaven, Coda has no such luxury.

When it was fi rst released the general consensus was that it was a bit of a cash-in by a band that had run its course. It didn’t have any original material for a start. And they weren’t even technically a band anymore. But rather than acting as a cynical last-ditch money-grab by a defunct act, Coda acts as a sort of summary of the

band’s accomplishments; produced by lead guitarist Jimmy Page, the album chronicles the adventure of the four blokes that would go on to reshape the music world.

Spanning the band’s entire career, Coda includes live performances from the Royal Albert Hall and unused songs from the sessions of albums In Through the Out Door, Led Zeppelin III, and Houses of the Holy. The “middle” of the band’s career is left largely untouched, but several of the tracks included on previous album Physical Graffi ti had that base covered pretty thoroughly.

The events leading up to this album’s creation were not happy ones. Struggling with substance abuse, in-fi ghting, and management


“THE BIG STORY HERE IS THE INCLUSION OF NEW SONGS... YOU GET A CHANCE TO HEAR WHAT NEW LED ZEP MUSIC

WOULD HAVE SOUNDED LIKE”

problems, the band were unhappy with the material they were putting out. The inner turmoil of the group culminated in the unfortunate passing of the enigmatic John “Bonzo” Bonham, who’s excessive drinking finally got the better of him. He proved to be irreplaceable, as the remaining members of the band refused to continue without him.

It seems it’s impossible to talk about Coda without mentioning the manic thrashing genius that was John Bonham. Having died two years before the album was even released, the danger was always that his passing would overshadow anything that the band produced since. Thankfully this isn’t the case. Coda is more of a tribute to a

fallen comrade, the inclusion of drum solo “Bonzo’s Montreaux” a testament to that. An entire track dedicated to a drum solo sounds dreadful in theory but the song, a drum rehearsal caught on tape with added electronic effects, captures perfectly why the man was so integral to the band’s sound and success.

It’s this sound that Jimmy Page managed to recapture in his masterful production, a relief for most fans after a couple of weak albums suggested they’d lost their mojo. Despite being a collection of songs recorded years apart from each other the album flows nicely, bouncing along with a groove and energy the likes of which the band had

become renowned for. Highlights include the storming retaliation to the popularity of punk that is “Wearing and Tearing”, the ringing folk stomp of “Poor Tom” and the blues-driven opener “We’re Gonna Groove”. There is the odd slip up here and there that makes you realise why some of the songs didn’t make it on to earlier albums: songs like “I Can’t Quit You Baby” and “Darlene”, while showcasing some impressive playing, are distinctly average and don’t offer anything particularly mindblowing.

The big story here is that, contain yourselves, we are actually being treated to new songs. The songs in question, “Sugar Mama” and “St. Tristan’s Sword”, were originally recorded in 1968 and 1970 respectively but were never officially released, and the steady groove hammered out by the rhythm section on both fits in perfectly with the feel of the record. In the spirit of the original album, which was something of a vault-purger in the wake of Bonham’s death, it seems only fitting to debut previously unreleased tracks, and it gives you at least a little feeling as to what it would have felt like to hear new Led Zeppelin music in their prime.

Although nostalgia-seekers and hardcore hunters may continue to seek out a copy of the album from decades gone by, the bonus content alone is worth the purchase here. The original album was a classy finale and a fitting tribute to John Bonham and the reissue adds a treasure trove of material to that. We’re not going to argue that this album is better than classics like Led Zeppelins I through IV, but to omit Coda from your collection would be foolish.

Several versions are available but we’ll tell you about the most you can possibly get. The Super Deluxe Edition Set is a fanboy’s dream: it includes the remastered album on CD in a vinyl replica sleeve, a companion CD in card wallet, the remastered album on 180-gram vinyl in a sleeve replicating the first pressing, a companion audio on 180-gram vinyl, a high-defintion audio download card of all of the content, a hard bound book filled with rare and previously unseen photos and memorabilia, and a high quality print of the original album cover, the first 30,000 of which will be individually numbered. More than enough to keep you occupied, we’re sure you agree.

Once Coda’s membership in the list of all-time great Led Zeppelin albums was questionable. But the amount of additional material on offer here seems to tip the balance in its favour. We’re inclined to say that Coda is now undoubtedly a classic Led Zeppelin album, and one that accurately charts their road into legend. Rightly so.


the fratellisEyes wide, tongue tied

albums

Once a frequent staple of radio stations The Fratellis have fallen off the radar somewhat in recent years, with 2013’s “We Need Medicine” failing to register on the same scale that the previous two albums had. Eyes Wide does a great job of putting the Glaswegians back on the map: this record exudes confidence, from the energetic rush of opener “Me and the Devil” to the foot-stomper of a track that is “Baby Don’t You Lie to Me!” , it seems the boys have got their mojo back. Be prepared to hear a lot of these songs on the office radio.

lamb of god VII: sturm und drang

the libertinesanthems for doomed youth

ghostmeliora

the chemical brothersborn in the echoes

frank turnerpositive songs for negative people Eight albums in and the dance duo return

for another collaboration-filled record. The guest appearances are a bit hit-and-miss: “Wide Open” includes a vocal from Beck which, combined with a house beat, isn’t really a marriage that works. Ali Love’s cameo on “EML Ritual” is a more successful appearance: pitch-shifted and layered, her vocals add an unsettling feel that contributes to the overall darkness of the album. Born in the Echoes exhibits a combination of brooding electronica and psychadelic rock that’s a positive step in an interesting direction for a group that could be in danger of growing stale.

The cult hero returns with an album that charts the next chapter in his life. Whatever inspired previous album “Tape Deck Heart” has been long forgotten, and every song here shows a determination to progress: the snarling guitars and aspirational lyrics on “Get Better” is the best example of a typical Frank song -- a rousing call to arms that both old fans and newcomers can get behind. A few duff tracks let the album down though, so all in all not Frank Turner’s best. He has set a high standard for himself though.

The first Libertines album in over a decade has a lot riding on its shoulders. The band’s return to the stage has been well received, but new music is the true test of whether they’re only back for the nostalgia dosh. Massive single “Gunga Din” is classic Libertines, “Anthems for Doomed Youth” is a meandering da da da, and synth-tinged “Belly of the Beast” is the perfect companion to “The Man Who Would be King,” from their second album. We’d be surprised if they didn’t start mashing those two up live very shortly. “Anthems” is the most well-rounded Libertines album to date -- once relegated to the background, the rhythm section are now very much involved and the band are all the better for it.

New album, new costumes: a new spooky chapter. Occult rockers Ghost return with the usual combo of Blue Oyster Cult-style riffing and dramatic prog rock arrangements, but Meliora goes one step further. Standout track “From the Pinnacle to the Pit,” carried by a grooving bassline, slithers along with a menace unseen on previous records, and “Cirice” manages to impress despite its middling tempo. What results is a potent mix of catchy choruses and melodrama that is seeing the band creep ever-closer to mainstream success. It’s apt that Meliora is Latin for “the pursuit of something better” -- Ghost have well and truly proved their mettle with their third album.

The much-awaited seventh album from metal giants Lamb of God brings with it a lot of stylistic changes and, thankfully, they all pay off in a big way. Moody new track “Overlord” includes clean singing, a first for the band, and “Embers” also sees them experimenting with doomy riffs and guest vocalist Chino Moreno of Deftones fame. This is still very much a Lamb of God album mind you; the breakneck-paced metal grinder “Still Echoes”, written during Blythe’s incarcaration in a Czech prison, is as intense an album opener as you’re ever likely to hear. Sturm Und Drang is the perfect example of how a band can experiment without pissing off the loyal fans. Destined for classic status.

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gigs

cleftDeaf institute,manchesterInstead of taking it easy after his last round of chemotherapy, Cleft’s guitarist decided the only thing to do was to get back on the stage. Rock ‘n’ roll is still alive and well, it seems.

This two-piece have got their tongues fi rmly in their cheeks when they describe themselves as “turbo-prog,” but that moniker sums the duo up pretty accurately. Performing an instrumental set, Cleft’s music is a fusion of ambling, shoegaze melodies and straight up metal riffi ng that’s unpredictable in the best possible way. Will worth checking out on their next UK tour, which commence in November.

drengefibbers,yorkOnce a two-piece, Drenge have recently recruited a third member and it’s paid off massively. The new guy has taken up bass duty, giving the band a much-needed low end boost live. As if they weren’t loud enough already.

Tracks like the chugging blues rock of “Nothing” used to be good live, but now hit you with the force of a steam train. Grungy tunes like “Face Like a Skull” and “Fuckabout” used to be big crowd-pleasers in their own right, but now sound monstrously huge. At just under an hour the set just flies by, and the new trio have absolutely fi lled the venue with their newfound oomph.






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win with spinWIN a trip tovinyl valleyYou may now be convinced by our Manchester special that it’s a pretty wonderful place. We imagine you’re probably looking up train fares as we speak. “But everything’s so expensive!” we hear you cry. Never fear. Here at SPIN we’re offering the chance for you and a mate to stay in Manchester’s Hilton for a weekend, with £300 spending money each to spend anywhere you like. Sure, you could take in the view at the Hilton’s Cloud 23 bar. Or go to one of Manchester’s countless restaurants. But might we recommend the many fine record shops on offer? We’re not biased in the slightest, of course. Just don’t complain when that limited edition version of your favourite album sells out while you were sipping on expensive cocktails.

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The band may be a distant memory but the music of Led Zep lives on. What better way to keep it alive than by listening to the new reissue of Coda? On the other hand, if you’ve never bothered to listen to them you’ve got the perfect excuse to see what you’ve been missing out on all these years. We’re giving away the super deluxe edition of the album, worth £100, which includes three CDs, three LPs, an HD download card and an album-sized, 72 page hardback book. All complete with artwork lovingly recreated from the originals. To enter, visit spinmag.com/win

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It’s in the record collector’s nature to be a bit untidy. If anyone complains, you call it “character.” But one measure you can take to ensure you’ve got that little bit more space (and make sure any scrutinising eyes are averted away from the pile of album sleeves in the corner) is to get a turntable that floats. Sort of. Gramovox’s masterpiece has already beaten its Kickstarter target, and to celebrate the hard work of those clever people in Texas we’re giving away one Floating Record Player in a walnut finish.

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favouritegary whelandrummer for happy mondays

I was in Salford Royal Hospital for three months with an accident where I nearly lost my arm. I was learning classical guitar at the time so that was the end of that. On Sunday evenings at 9pm on hospital radio a dj would come on and play punk. He played ‘Submission’ from Never Mind the Bollocks, the only one they’d ever play because it didn’t have any swearing on it. I heard it and it blew my mind. I’d never heard anything like it before. I had just turned 11. My folks promised to buy me the album when they let me out of hospital. I’ve no idea if they’d have let me have it if I wasn’t in hospital actually!

It still sounds good today. Johnny Rotten’s vocals were and are amazing. His lyrics were so angry, and when you think he was 17 when he wrote them it’s just something else. The melodies are great too: the guitar riff from Pretty Vacant is nicked from ABBA’s SOS. That’s the genius.

It’s aged very well. great production from Chris Thomas helps too: he had been the Beatles’ studio Tea boy’ and Tape runner. You can certainly hear that Arctic Monkeys and Oasis have been influenced by this album, but back then this was the first of its kind, it was so different. 1977 in England was a time of revolution and anger and it came like a bolt out of the blue.

My mum and dad bought me the album so it wasn’t that that convinced the buy, but the cover said “fuck off” to all of that 70’s arty shit and soft focus portrait covers. Pink and yellow in bold letters, I’d never seen that before or since. It was a sign that screamed: “look inside.”

It started my love of music. I quickly moved onto the Beatles andthe Rolling Stones and soul music but the punk ethic, as they call it, has never left. Never. It is an overused statement but it really did change my life.

I really don’t know anyone who doesn’t like it. Well, not in my age group. It’s our Sgt Pepper, it’s so important. I pissed my folks off by playing it over and over, so maybe they regretted buying it for me. I have it on CD but it’s not the same. Digital changes instrumental sounds. Some albums need to stay on vinyl: the anger is in the grooves.

Never seen them live, unfortunately. Met them, but never seen them. A regret. But if you YouTube their very last gig they played back in the 70s at San Francisco’s ‘Wonderland’ Johnny Rotten ends the show (after 15 mins) by simply saying: ”Hahaha, ever get the feeling you’ve been cheated?” Doesn’t get more rock ‘n’ roll than that. You don’t have personalities like that in rock music anymore. In fact I’m gonna go and listen to it now!

Gary is currently on tour with Happy Mondays and will be playing in Birmingham, Liverpool, Newcastle, Manchester, Nottingham and Lincoln.

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