It’s vinyl Christmas! The indie stores’ stockrooms are no-go areas, the pricing gun has given up the ghost and the record shop managers have seen more of the local courier drivers than their partners in the last week or so.
All of this means it’s time for the annual (pandemic drop initiatives aside) celebration of a day not without its detractors. There are some eye-watering prices once again and a number of titles that don’t look like obvious crowd-pleasers, but this has long been the way with RSD. One person’s subject of derisory Twitter snark is another’s cherished highlight that got them back through the door of their local record emporium. Life has taught us that almost nothing from the list will be beyond your grasp even if early hours debates about the best Creation album or whether or not the sound of babies crying on soul records are acceptable while standing on a deserted high street aren’t your thing.
So, let’s have a look at some of the releases available on Saturday 23rd April.
– – –
– – –
One of the most obviously tantalising items is a freshly assembled EP from The Associates. With new artwork designed by Philip Marshall and keeping a keen eye on a forthcoming deluxe 40th anniversary box set for the essential ‘Sulk’, ‘Covers’ collects five varyingly prominent tracks onto one Optimal-pressed clear vinyl cut. Diana Ross’ ‘Love Hangover’ is a strident, magnificent opening to side A, while the flip commences with Bowie’s ‘Boys Keep Swinging’, the band’s debut single and an interpretation which came out almost immediately after the original.
With only a few lights clicks on the second side, the music is the star of the show on this excellent curio. The set concludes with obscure single ‘Kites’, originally released as 39 Lyon Street to circumvent their recording contract, with Christine Beveridge on lead vocals for this 1967 Simon Dupree smash. While fans will know much of what’s here, the soundstage is strong and it’s not just something easily available pressed to a different colour. Although that might be said of the blue ‘Sulk’ edition to follow.
– – –
– – –
Marina Records continues to deliver the good stuff, having reissued three absolute belters from The Pearlfishers earlier this month. For RSD, they present a first vinyl release for 2005’s ‘Looks Like You’ve Already Won’ by Ashby, a duo from Boston, USA. You could be forgiven for letting this slip by in the summer of that year, given how little it resembles what passed for a music scene at the time. Dream pop abounds, with plenty to please fans of The Sea And Cake, early Air and Stereolab in their loungewear. The other logical comparison, given its epic retro poise, is Saint Etienne in their sun-kissed pomp.
Try the unstoppably radiant ‘He Likes The Sound’ if you need a quick sample, but give the whole record a listen before heading out if you can. This is a perfect example of one of those releases where – hardened RSD-ers will know the feeling – a select few on social media will be rhapsodising about it after the event and you suddenly realise you flicked past it during the friendly elbowing session, not having a clue what it was. So, consider yourself pre-warned. Evelyn Pope’s warm summer breeze vocals are hypnotic and the silhouetted sunset cover art could not be more fitting. An Optimal pressing with barely a hint of a click anywhere on it, the cut is excellent and this is one to treasure.
– – –
– – –
While released in 1972, Dusty Springfield’s seventh studio album, ‘See All Her Faces’, was a hodgepodge of tracks recorded over the three years prior to its assembly. Unsurprisingly, it veers all over the place as a result and featured eight producers. To mark its fiftieth anniversary, Universal offer up this double LP set with a selection of corresponding outtakes that have previously emerged, perhaps fittingly, in numerous different settings. The whole lot has been remastered and cut by Geoff Pesche at Abbey Road.
Given the multitude of sources, there is discernible fluctuation in sonics. Some tracks are a little thin and sibilant, but the soundstage as a whole is open and balanced. Bass is well marshalled and Dusty’s remarkable vocals have sufficient space around them. Amongst the extra tracks, her tremendous take on soul perennial ‘O-o-h Child’ offers an endearing juxtaposition with the closer, Spike Milligan’s shimmering ‘Goodbye’. Pressed at GZ, the two discs came out of their printed inner sleeves with a not inconsiderable amount of the dreaded detritus about their grooves. However, following a clean in the Degritter, they played back almost silently and were a real pleasure. Would have liked a gatefold sleeve, mind.
– – –
– – –
In RSDs gone by, coloured vinyl reissues of several of Ocean Colour Scene’s most successful albums have proved to be amongst the most in demand titles on the day. For 2022, Demon Records have dusted off a now rather scarce 2002 fan club only acoustic live album by that band’s Simon Fowler and Oscar Harrison, ‘Live On The Riverboat’. Recorded at the Renfrew Ferry in Glasgow, it captures the pair in fine form and at ease with a hugely appreciative audience. It further reinforces the quality of Fowler’s emotive vocals, oft-overlooked in the days when their Evans association seemed to blight more of their music press coverage.
While this may be something of a niche release, it will please the faithful. The original set is spread across four sides of river blue vinyl and augmented by two new bonus tracks, ‘Argyle Street’ and ‘The Fortress’. A GZ pressing, the copy Just Played listened to was near silent throughout and presented the sparse soundstage with care. Acoustic instruments sound full-bodied and the audience are mixed in at the ideal level to capture atmosphere without overwhelming the performance. Then-new songs ‘Second Hand Car’ and ‘North Atlantic Drift’ receive rapt silence, while the utter euphoria of moments like ‘The Day We Caught The Train’, ‘One For The Road’ and ‘The Circle’ is infectious. Given how hard to find the original CD now is, this is another fitting choice for an RSD outing.
– – –
– – –
One of the more eye-catching titles on this year’s list is a double vinyl edition of a unique compilation that celebrates the work of Scottish folk songwriter Jackie Leven. This tribute, ‘The Wanderer’, appeared on CD last year but it really comes alive on its smoke-coloured pressing. The distinctive artwork, a portrait by Leven’s friend Allan Black, looks magnificent at this size and the gorgeous gatefold captures the thoughts and reflections of many artists featured across the four sides.
As alluring as the packaging may be, the music once the needle drops is why this is one to seek out. A GZ pressing, it played almost silently throughout after a quick clean. Try the rampaging ‘Standing In Another Man’s Rain’ by Andy White featuring Steafan Hannigan or Kathryn Williams’ stunning ‘The Crazy Song’ to get a sense of the remarkable quality on show here. Jeb Loy Nichols brings a languid majesty to ‘The Working Man’s Love Song’ and Tom Robinson is triumphant on ‘Classic Northern Diversions’. Novelist and occasional reader of this very column, Ian Rankin delivers a spoken word performance of ‘Edinburgh Winter Blues’ which has been backed by new music from Dean Owens.
There isn’t a wasted note on any of these twenty-one tracks and it is one of those rare compilations where there is no need to skip ahead. Graeme Thomson’s heartfelt sleeve note pays fitting tribute to a writer taken too soon, something which is also achieved by the vital and vibrant performances of all of the artists who gave their time for this magical project. Keep its cover in mind for when you’re digging through the boxes.
– – –
– – –
Anyone who had the pleasure of picking up Erasure’s 2020 studio album ‘The Neon’ will know that enduring duo are in very fine form right now and last autumn they followed it up with the ‘Ne:EP’. It appended single ‘Secrets’ to four new tracks and acted as a curtain-raiser for their delayed tour. Having previously only featured on CD and cassette, Mute have decided to give the fans what they want with this translucent purple vinyl edition cut by Matt Colton at Metropolis. ‘Leaving’ and ‘Time (Hearts Full Of Love)’ are particular highlights of this set, but it’s not just those five songs you’re getting here.
The Pallas pressing comes with a bonus CD, featuring the five previously released ‘Ne:EP Remixed’ tracks and three additional reworkings for this edition. So, plenty of banger for your buck, but how does it sound? The presence of the CD in the sleeve may have contributed to a very minor warp and Just Played noticed a couple of light clicks at one point but it’s an otherwise excellent bit of work. The bottom end is pretty well controlled and Andy Bell’s vocals sound fulsome and clear of the backdrop. Glorious artwork, tremendous bonus bits and a pretty but quiet disc make this a winner.
– – –
– – –
The ebb and flow of Echo And The Bunnymen is a curious thing. Obviously, their imperial phase is still hugely well regarded and only recently reissued and then there was the late-Nineties re-birth driven by the utterly magnificent ‘Nothing Lasts Forever’, but there have continued to be new releases and anniversary tours which fade in and out of the public consciousness. This fluctuated to such an extent that some readers will recall the image of frontman Ian McCulloch painted so precisely in the late David Cavanagh’s remarkable 2018 profile of the band for Mojo.
Thankfully, they seem to be in the ascendency once again and, alongside those classic early records being dusted off by Warner, Demon have opted to give a proper physical release to the oddities and sodities from their 2001-2005 time on Cooking Vinyl which that label delivered as a digital only set back in 2007. It doesn’t work particularly as a cohesive album, for obvious reasons, but it does offer an interesting rifle through b-sides, alternative mixes and live performances, making it substantial enough to offer fans a reason to part with their cash.
‘Marble Towers’ and ‘Scratch The Past’ were initially used as the Japanese bonus tracks for 2001’s often excellent ‘Flowers’, while the handful of 2005 Reading Festival performances which make up side D are very well recorded and capture Mac in good voice. ‘Nothing Last Forever’ morphs playfully into ‘Walk On The Wildside’ before ‘The Killing Moon’ comes out. A small minus point has to be awarded for the missing definite article on the artwork for that title. These clear vinyl discs pressed at GZ, with mastering from Phil Kinrade at Alchemy, sound good and play almost silently. Unlikely to be one anybody takes a punt on, but fans wondering if they need this will find it safe to proceed.
– – –
– – –
Among the big names, there are often true gems to be discovered on each year’s RSD list. Independent labels often use the shop window of the annual event to offer up something precious that needs a little light shining on it and one such example in 2022 is Fire Records’ Mary Lou Lord compilation, ‘She’d Be A Diamond’. A contemporary of Nirvana and Elliott Smith, these songs will appeal more to fans of the latter but also those partial to Teenage Fanclub and Phoebe Bridgers.
Indeed, ‘Speeding Motorcycle’ comes on like Big Star’s much-covered ‘Thirteen’ at first and the varying sources, perspectives and styles of these twenty-seven tracks cover plenty of alternative territory. Compiled with love, this anthology captures the soul of a busker who briefly ventured into the world of recording contracts before veering back to doing her own thing. The sonics are successfully marshalled given the origins of some of these songs, with studio recordings noticeably more open and full-bodied.
‘The Wind Blew All Around Me’ is a punchy, jangly power-pop delight, while ‘Camden Town Rain’ is a cassette recording which featured on the 1993 Kill Rock Stars compilation, ’17 Bands That Don’t Want To Be Rock Stars’. Add in a soaring cover of Pink Floyd’s ‘Fearless’ and a number of new recordings – including four additional tracks available via download – and this is quite the package that you never knew you needed. An Optimal pressing with barely a hint of surface noise over four sides, this is one to seek out.
– – –
– – –
Suzanne Vega’s 2010 Close Up project saw her re-recording songs from across her then quarter of a century back catalogue in a more intimate fashion. Four volumes arrived in only three years and Cooking Vinyl have recently reissued the whole lot in a striking 12×12 book on a variety of coloured discs. To accompany this substantial set, the label have opted to deliver a clear vinyl production of her previously self-released ‘Close Up – Extras’ which collected together the unused additional recordings for that significant endeavour when it was last anthologised on CD.
This GZ pressing is largely quiet during playback and does a decent job of presenting the sparse performances. On ‘Luka (Spanish Version)’, for example, Vega’s vocal is front and centre and the accompanying plucked guitar fills out the space around it. While things are a little more concentrated in the mids than the top end, it’s a satisfying way to experience these further nuggets from a series that is understandably beloved of her fans.
– – –
– – –
Twenty-three years ago, several jaded music press folk took out their own frustrations at the end of their perceived golden era on Melanie C for daring to like what they (and Absolute Radio’s PR team) no doubt called ‘real music’. Her first solo album, ‘Northern Star’, holds up pretty well. Most of the criticism hinged on an admittedly limp lyric, “I couldn’t live without my phone, but you don’t even have a home.” The rest of the song paints a more thoughtful picture, but let’s not relitigate that particular battle as the title track, ‘I Turn To You’ and ‘Never Be The Same Again’ are all indisputably fantastic.
Contributions from Marius De Vries, Rick Rubin and William Orbit ensure most of the production doesn’t feel dated after several decades, while Lisa ‘Left Eye’ Lopes’ role on the last of that trio of belters is a masterstroke. The key thing here is Chisolm’s wonderful voice, always the strongest in the Spice Girls and one which had famously upstaged Bryan Adams on the superb number one single ‘When You’re Gone’ a year prior to this album. Making its debut on vinyl, it’s actually well worth the re-evaluation. Artwork has been faithfully rendered for the format and the GZ pressing is largely quiet and with a fairly open soundstage. If you don’t pick it up on the day, it’s a strong contender for an impulse purchase during the online follow up.
– – –
– – –
It occasionally occurs to your columnist that there are people in the world who have yet to be introduced to the majesty of Sandy Denny’s voice. What delights lie ahead for them when the connection is made, though. Several of her wonderful solo albums have been reissued in recent years, including an RSD outing for ‘Like An Old Fashioned Waltz’ for 2018’s shindig. While many would be happiest were Universal to manufacture another run of 2010’s exhaustive 19 disc CD box set, they are now once again off the beaten track with a first vinyl appearance for 1998’s posthumously released live album, ‘Gold Dust’.
This truncated and re-sequenced 11 song presentation of the original 17 track CD edition has been overseen by Kris Maher and Andrew Batt, the latter having also provided new sleeve notes. As Batt explains, issues with the original tapes left the recording on the shelf for two decades and required the re-recording of some guitar parts to get it up to release standard. He has now tried to create something close to how it might have appeared at the time if all had been well, using an image from the corresponding tour programme for the cover and restoring Denny’s endearing between song chat.
Recorded at the Royalty Theatre in London on November 27th 1977, at the end of her first tour in two years, it captures Denny’s last live concert before her untimely death five months later. While her voice had clearly changed over time, the performance is utterly captivating, with ‘The Lady’, ‘It’ll Take A Long Time’ and ‘Who Knows Where The Time Goes’ especially arresting. ‘No More Sad Refrains’ is a devastating finale to this distinctive moment in history. Sadly, this is one of those shiny-sleeved GZ pressings that had a fair bit of detritus on the disc straight out the shrinkwrap. A good clean kept surface noise at bay, but it’s a little frustrating to find this passionate project suffering with some intrusive clicks at times.
– – –
– – –
Fans of Blondie’s ‘Sunday Girl’ will be delighted by their 2×7” gatefold release. The ‘Sunday Girl EP’ features the original single version of ‘Sunday Girl’ on the A side of the first, transparent yellow disc, with the French version of ‘Sunday Girl’ on the flip. The second, transparent red disc features the previously unreleased demo of ‘Sunday Girl’ on one side and a 1979 live recording of ‘Sunday Girl’ on the other. The sleeve features a scan of the original lyrics to, you guessed it, ‘Sunday Girl’.
Manufactured at Optimal and, where relevant, remastered from the original analogue tapes, it’s amazing to witness what would once have been the filler for the end of the first disc in one of those excellent 2CD deluxe editions with the transparent slipcases that were all the rage twenty years ago being spread over two singles and priced at over £20. It looks nice enough, but this sort of thing doesn’t help RSD’s reputation one bit.
– – –
– – –
There was a little consternation around the presence of Elton John’s ‘The Complete Thom Bell Sessions’ on this year’s list, following the reissue of ‘The Thom Bell Sessions 1977’ for 2016’s event. Essentially, side 2 of this mini-album contains the same tracks as that 12” single, with side 1 featuring another three pearlers from the same sessions. Having only had an import CD copy of this tremendous collection for many years, it’s rather lovely to see it getting the full-length vinyl treatment. It was only previously on wax in America and that was thirty-three years ago, so there is some justification for putting it out there again.
Firstly, it’s entirely in keeping with Elton’s recent curation of his vaults, both with the ‘Jewel Box’ project and last year’s RSD release of the so-called debut album that never was ‘Regimental Sgt Zippo’. Secondly, these are a sextet of soul scorchers that deserve more attention. A fresh cut at Abbey Road, this has been pressed by GZ and comes in a poly-lined inner sleeve. It’s not entirely free of surface noise, but it’s pretty negligible all told.
The mastering is balanced and open, keeping the bass in check while ensuring vocals are fully carved out in front of you. ‘Country Love Song’ is possibly the highlight of the three less well-known tracks here, but the whole lot is a delight. A quick comparison with an original 1979 copy of the afore-mentioned three track EP suggests that the mid range is a little more bloated on this new edition and the strings a little less defined, but it’s still a fine sounding release on, to quote the hype sticker, “soulful lavender” vinyl.
– – –
– – –
During last year’s ‘Drops’, Demon reissued Bernard Butler’s quietly excellent debut album, ‘People Move On’, ahead of a sizeable CD retrospective. That four disc edition added the b-sides from the time and the whole lot a second time with newly recorded vocals as Butler felt like there was plenty of room for improvement after 25 years. Since then, the main album with new vocals has been issued on vinyl – see February’s column – and now the B-sides get their own 2LP set.
The first disc features the originals, while the second is their 2021 incarnation. Both are white and pressed at GZ, as with the new version of the main album. Playback is mostly quiet, although a few clicks creep in here and there. The originals were a little sibilant at points, to these ears, but the newer versions less so. While three of the re-recordings layer new vocals over the instrumental mixes made at the time for TV and film use, ‘My Domain’ and ‘More Than I Thought’ had to be mixed fresh from the original tapes and so differ rather more across their two incarnations. Perhaps as a result of these songs being less familiar, Butler’s new delivery feels much more natural here. One for the hardcore, then, but do check out the original album if you’re unfamiliar with it.
– – –
– – –
One Little Independent offer up a wonderful primer for the consistently superb music of Kathryn Williams with a single disc compilation entitled ‘Introduction’. Whether coming fresh to her work or as a lapsed listener, this is a corking collection of songs that spans her entire career with each album contributing a track to proceedings. This column has mentioned previously her superlative ‘Anthology’ CD box set from 2019, with the full catalogue and accompanying bonus material collated, and with that vast array of beautiful songs at the label’s disposal such an exercise in brevity was always going to be tricky.
While many of us might pick different tracks from those distinctive and enduring albums, this record has been sequenced with care. The combined impact of ‘Sequins’ followed by ‘Electric’ on side 2 left me in bits, while ‘Mirrorball’ is a shimmering delight which really comes alive on this fantastic vinyl cut. Pressed at Optimal as a transparent orange edition, it has an often-mesmerising soundstage. Williams’ distinctive voice is given room to breathe and it is one of this year’s RSD titles where the speakers dissolve and instruments emerge into the room. Very reasonably priced and near perfectly produced, ‘Introduction’ will ensure an ideal first impression for many.
– – –
– – –
The ludicrously underrated Ron Sexsmith has been putting out fabulous records for several decades, frequenting a range of labels along the way. Not all of his albums have been available on vinyl given his relatively modest audience. Most in need of a 12” presentation is 2004’s masterpiece, ‘Retriever’. However, on this occasion, his long-term UK home, Cooking Vinyl, have opted to put 2011’s ‘Long Player Late Bloomer’ back on wax. Curiously, its original release was licensed via Music On Vinyl and that hasn’t been repressed in some time.
Capturing Sexsmith at his most polished and infectious, these are instantly endearing tunes with hooks to spare, his careworn vocals cutting through beautifully. Listen to ‘Believe It When I See It’ and ‘Love Tries’ to get a sense of the range on offer here and there’s even a revelatory documentary named after the latter of those two tracks out there if you want to see behind the creative process for a reluctant pop star. This green vinyl edition has a vibrant production of the artwork and a four page lyric booklet inside. The disc itself is pressed at GZ and housed in one of their super-static white paper inners. Playback had a few patches of noise, even after a trip in the Degritter, but this didn’t detract from an engaging soundstage that presents the rhythmic pulse of these songs effectively. A fine starting point for those unfamiliar with this great artist.
– – –
– – –
‘Foolish Seasons’, the 1968 debut album by British songwriter and actor Dana Gillespie, has never previously been officially reissued on vinyl and the high demand has pushed prices above £200 in recent years. Its mix of folk-rock, pop and country makes for a heady listening experience, although it didn’t even receive a UK release at the time. Finally, that wrong is put right with a refreshed edition overseen, once again, by Andrew Batt and Kris Maher. Batt has remastered the music and two bonus tracks, originally recorded for the subsequently shelved UK release, have been retrieved and restored to the running order for this edition.
The gatefold features an alternative photo from the cover shoot and an illuminating sleeve note from Gillespie which situates the music perfectly in the contexts of its creation. Mixing her own songwriting with tracks taken from the even more sought after Billy Nicholls album ‘Would You Believe’ and a French single, ‘No! No! No!’, which she encountered whilst working in a record shop after school makes for a vibrant listen.
You’ll recognise opener ‘You’ve Just Gotta Know My Mind’, but the whole album is fabulously evocative of the late Sixties. Listen to those drums on ‘Can’t You See I’m Dreaming’, that hiccupping orchestration on ‘He Loves Me, He Loves Me Not’ and the languid spoken-word delivery and curiously insouciant organ on ‘Dead’. The soundstage is pleasing, taming the bottom end that can be a little boomy on recordings from this time and keeping percussion crisp and natural in its presentation. Pressed at GZ and housed in a shiny inner, it needed a good clean before it went anywhere near the turntable. However, a few stray clicks here and there aside – unwelcome but not insurmountable – it was an absorbing listen.
– – –
– – –
Having recently staged a comeback, New Zealand cult favourites Dead Famous People are the subject of some archival digging by Fire Records. Their first EP, 1986’s ‘Lost Persons Area’, has been replicated with care by a label clearly wanting to pay tribute to a singular debut. The black and white imagery offers little sense of what lies within, Dons Savage’s songwriting already in full flight and full colour.
‘You Won’t See My Cry’ is a particular highlight, with elongated vowel sounds curling around bluntly assertive lyrics. Forgive the curious comparison, but this fizzing selection of songs somehow evoked the early years of the connection between Lindy Morrison and Tracey Thorn described in the latter’s recent, excellent memoir My Rock ‘n’ Roll Friend. An Optimal pressing on good old black vinyl, it plays perfectly across both 45rpm sides. If you fancy taking a punt this RSD, you won’t go wrong with this delight.
While certain soul labels are, quite rightly, venerated with great frequency, others sometimes need someone to take an interest and return them to public attention. With several decades having passed since the Chi-Sound catalogue was last subject to a compiler’s eye, Michael Neidus has taken on the challenge for Demon Records and assembled a double LP set that spans the first eight years of its existence, 1976-1984. A home to The Impressions, The Dells and Gene Chandler amongst others, the label is represented here by eighteen choice cuts.
Chandler’s outrageous ‘Get Down’ is present in its 12” version, while The Chi-Lites’ ‘Hot On A Thing (Called Love)’ is an endearing horns-enhanced burst of soulful pop from Eugene Record’s second stint with them. The opening track may well be familiar with listeners to Norman Jay’s euphoric radio broadcasts down the years, the Windy City Orchestra’s ‘Windy City Theme’ being a perennial backdrop for his shows. While the mastering isn’t audiophile quality – with things a little busy in the mid-range – the songs are well presented and playback on these two blue discs pressed at GZ is largely quiet. Some revelatory sleeve notes would be nice, though.
– – –
– – –
Buoyed by a financial imperative, the Pixies reunion of 2004 was nevertheless something of a surprise. The announcement that they would take to the main stage of Coachella that year, just before headliners Radiohead, was greeted with delight, their standing having only grown in the time since last they had been a going concern. A prolonged period of touring followed and we all know now that new music would eventually emerge, but audiences were there to hear the classics. The recording of their twenty-one song festival set was self-released via streaming services last year and Demon have stepped in to deliver a 2LP set on yellow and orange marbled vinyl, picking out the colours from the artwork.
It should be noted that the digital version of this performance is no sonic wonder, beset by sibilance and a pretty compacted soundstage. Recorded as one of those near-instant CD-Rs of a live performance that were all the rage for a while, it’s hard to imagine much time has been spent subsequently on the files. ‘Debaser’ still comes charging out of the blocks, as does ‘Gigantic’, but there’s very little by way of dynamics. The bottom end is lacking and things feel quite boxed in. With quibbles about the sound, it might be tempting to criticise the decision for an etching on side 4, but wider grooves couldn’t tackle the nature of the source material. As a memento for those present or an aesthetically pleasing curio for the faithful, this does a job, but this being on vinyl doesn’t add a great deal.
– – –
– – –
A sealed original of Corinne Bailey Rae’s second album ‘The Sea’ sold on Discogs for over £400 last year. Pressed in limited numbers upon release in 2010, this translucent blue reissue for RSD is the first time it has been available on vinyl since. Demand is high, so it seems another sensible title to restore to the racks for this shopping-incentivising day. The music remains excellent, Rae’s voice remarkable on songs mainly written after the loss of her husband. The gatefold sleeve is well replicated, with the lyrics presented across a striking central image.
However, the disc itself is disappointing. A GZ pressing shipped in a black paper inner, it was noisy from the off. And after a clean. And after another clean. Regular readers will know that GZ roulette means you could well unearth a silent copy of this title, but after substantial time in the Degritter, removing both detritus and static, the one Just Played sampled had an unacceptable amount of crackle and pops on a number of tracks. The soundstage is solid, with a relatively open top end but quite a narrow focus for the mid-range and bottom end. If you get a quiet one, it’ll serve you well enough but beautiful songs like opener ‘Are You Here’, the title track and ‘Closer’ deserve a better quality medium.
– – –
– – –
While the 7” box set isn’t the most practical format when deployed for an album, it is an ideal addition to Mr Bongo’s sensational Brazil 45 series. Having been digging for the finest sounds to reissue as singles since 2014, they embarked upon the ‘Brazil 45 Boxset Curated’ series for RSD in 2020. First up was DJ Format, followed by DJ Marky in 2021. For the third instalment, they called on none other than Kenny Dope, one half of Masters At Work and former Buckethead.
Given the task of selecting 10 delights to spread across the five Optimal pressed discs in this box set, he got fully involved and remixed three and re-edited a fourth. Di Melo’s chest-pumping ‘Perlonga’ is one of the tracks to which he has turned his hand, while there’s some heavy funk in play for his take on Antonio Carlos & Jocafi’s ‘Quem Vem Lá’. Aside from a couple of sides being a little noisy on the run in, these records sound excellent, delivering the necessary bass heft without a loss of definition. This box is an aesthetically pleasing endeavour guaranteed to revitalise tired feet after time spent queuing for the good stuff. One to remember once you’ve made it through all of the stock.
– – –
All of the titles reviewed above were cleaned before playback using the ultrasonic record cleaning machine, Degritter. A full review of its capabilities can be found in a previous column and you can find local dealers at www.degritter.com
Words: Gareth James (For more vinyl reviews and turntable shots, follow @JustPlayed on Twitter)
– – –
