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16 minutes ago, SkipEsquire said:

Seems to be a very popular album around here. Not my favourite by Pink Floyd but the only one I own on vinyl so far.
Mine happens to be an Israeli pressing purchased in Germany now living in Australia.

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Apart from Dark Side Of The Moon ? - A brilliant album 

 

I think Wish You Were Here is probably their best album overall 

But that is only my personal taste 

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2 hours ago, Karl Rand said:

Even if I was into this form of acid rock I don’t think I could ever cope with some of their lyrics. Maybe that night long long ago I shouldn’t have listened to them on a too powerful dose of L.S.D.? 

But you listen to Opeth!?

Yer, they are pretty dark. I just hide the razor blades.

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A very nice Prog album with only 3 tracks 

Side one - The Gates Of Delirium (21.55 ) is a brilliant composition 

 

Artist - YES

Title - Relayer

ID - Atlantic K50096 

UK pressing 1974 

 

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Edited by Full Range
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Guest Karl Rand
8 minutes ago, SkipEsquire said:

Never heard this album before. Was chucked in with a bunch of records I bought a few years back. It's interesting enough and in nice condition.1612221003_photo3(1).thumb.JPG.928dee16472877ce9b8272c2e6e7904f.JPG
 

You play such a range of interesting LP’s I wish you were broadcasting them on FM or on the web. 

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Guest Karl Rand
2 hours ago, Janjuc said:

Hi All,

 

 

You obviously forgot the old adage, half now, half later, which could be 15 minutes to 3-4 hours ?

 

JJ

This could wander way off topic however. - - - - the particular dose several of inadvertently took was, we learnt later, the result of water being accidentially spilled onto a large sheet of blotting paper impregnated (as it sometimes was in those ancient times) with LSD. It would appear this made hundreds of doses drain down into one corner of the blotter. The consequences weren’t amuzing for a number  of innocents. (was anybody innocent in those days?)

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7 minutes ago, Karl Rand said:

You play such a range of interesting LP’s I wish you were broadcasting them on FM or on the web. 

Appreciate the compliment. I've been looking for a cheap standalone phono stage to start doing just that, however my 'collection' is literally nothing compared to what I've seen in the backgrounds of other Stereonetters photos. I think it just appears better than it actually is because I've been trying to get all my LPs into my Discogs profile and I spend such a large chunk of each day spinning records and drinking cheap wine because I'm unemployed lol

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Guest Karl Rand
2 minutes ago, SkipEsquire said:

Appreciate the compliment. I've been looking for a cheap standalone phono stage to start doing just that, however my 'collection' is literally nothing compared to what I've seen in the backgrounds of other Stereonetters photos. I think it just appears better than it actually is because I've been trying to get all my LPs into my Discogs profile and I spend such a large chunk of each day spinning records and drinking cheap wine because I'm unemployed lol

Mate, getting pissed and playing LP’s is a dangerous combination if you want to save your cartridge from getting mangled and your LP’s from getting scratched. On today’s disgustiong ‘Newstart’ allowance I don’t know how anyone can afford even cheap plonk. OOOOPS! I’ve broken forum rules again and wandered into the political. Me bad!

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9 minutes ago, Karl Rand said:

Mate, getting pissed and playing LP’s is a dangerous combination if you want to save your cartridge from getting mangled and your LP’s from getting scratched. On today’s disgustiong ‘Newstart’ allowance I don’t know how anyone can afford even cheap plonk. OOOOPS! I’ve broken forum rules again and wandered into the political. Me bad!

All my stuff is cheap not just the booze, most LPs are from the op-shop or bargain bin lol I'm no audiophile or record collector I just love taking gambles on buying and listening to old records. Thankfully Mrs Esquire is also frugal and very supportive and I don't have to deal with Centrelink.

Case in point random crap like this. Pretty sure my mum donated it to the cause lol


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Guest Karl Rand
9 minutes ago, SkipEsquire said:

Here's one of the few I DID buy brand new recently. Had it digitally since it came out but it's been a must have since I started this journey into vinyl.

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Thanks for bringing this to our attention Skip. A real discovery. Not sure what you call this style but it sounds like they’ve crossed Leadbelly with downtown blues or somesuch.   

 

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Guest Karl Rand
13 hours ago, SkipEsquire said:

Appreciate the compliment. I've been looking for a cheap standalone phono stage to start doing just that, however my 'collection' is literally nothing compared to what I've seen in the backgrounds of other Stereonetters photos.  - - - - - - - - - -

I’m sitting on (at last count) about 5,900. LP’s . Sadly I lost an important part of my collection, including a large number of irreplaceable private pressings of US Jazz and blues live events in a burglary.  I also lost all my audio gear. Most of the audio stuff was recovered (except a Revox B 77 tape deck and a Sota TT, a Sumiko ’The Arm’  a collection of silly money moving coils and Decca cartridges) The jazz & blues recordings were never recovered. The police learnt the thieves were part of an organised gang who hunted forums with software that searched for mentions of everything from cars, watches, jewellery to audio gear. They then dug deeper to learn the specific location of this stuff, often having taken advanced ‘orders’ from clients. This is why I’m now too paranoid to list my gear on web sites. It doesn’t matter if you don’t mention your address in forums etc as that information is easily available through hacking today, especially as most retailers have little or no protection between their accounting systems and the web.  Needless to say in those days I was naive enough to use my own name on forums DUH!

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Morning All,

 

Listening to Public Service Broadcasting, Every Valley

 

596585516_EveryValley.jpg.981c93cec58cceb510785f6445e1d091.jpg

 

From https://www.pastemagazine.com an excellent review of the album

 

Every Valley, Public Service Broadcasting’s lush, sweeping ode to Welsh miners, sees far past the National Coal Board’s touting of the industry’s fantastical, misperceived longevity, and instead peers into the lives of a proud working class that lived and died by the dank tunnels in which they methodically toiled.

The wildly shifting post-rock concept album documents the rise and fall of British coal mining, where many were highly dependent on the black rock for personal prosperity. When the need for coal began to diminish, and the resource ultimately tanked, economic instability and sadness followed. Recent estimates put the number of miners in England at about 2,000, and all deep coal mines are extinct. Another example illustrating the copious number of pits that eventually closed: In 1920, there were more than a million miners in places like North and South Wales, Yorkshire and Kent. In 2015, there were just 2,000.
It’s a part of the energy business that PSB drives home the strongest in the contemplative “Mother of the Village,” which documents the almost maternal role a lucrative mine could fill for a village. Where once there were picturesque shops and the vitality of a unique coal town, there is now just abandoned buildings and quiet streets. “I don’t think it will ever return to all of these valleys,” says one man, possibly decades earlier.
PSB—guitarist and electronic sampler J. Willgoose, Esq., drummer and pianist Wrigglesworth and multi-instrumentalist J F Abraham—use archival film, audio of old commercials and voices of coal workers themselves, culled from the British Film Institute’s Public Information Films, to interpret miners’ stories. Delicately layered over those sound bites are uplifting instrumentals aided by weeping, billowy modern synths.
The title track sets the tone, at least for the first half of the album. A volley of strings and a delicate melody mimics the familiar London police siren. Weathered voices then speak of the lure of the coal mine, with workers being lauded as “kings of the underworld.”
The vintage narrator in “The Pit” throws us down into the coalface with refined British pomp, boxing the listener into 3-foot, 6-inch high rooms. The delicate dawn of strings in the first song are now replaced by heavy, ricocheting drums and a deep, moaning horn section.
“People Will Always Need Coal,” includes audio of a 1975 mining recruitment commercial with a peppy cruiseship jingle which boasts “lots of money and security” from working in a Welsh coal mine. The song speaks to now arcane ideals of masculinity and the “be all you can be” mentality.
The youthful vocals of Camera Obscura’s Tracyanne Campbell on “Progress” signals the start of the modern era of clean-energy production and an increasing dependence on machines, while “Go To the Road” crisply announces the closure of yet another pit mine.

The post-rock blast of “Turn No More” acts as the changing tide of the coal industry as well as the turning point on Every Valley. “All Out,” which chronicles a miners’ strike, serves a barrage of harsh guitars and pounding drums. It’s jarring, though, to hear forceful vocals where ambient sounds and clean, flowing orchestral arrangements carried most of the album to that point.

Once PSB described the lure of coal mining in the first half of Every Valley, the mood becomes more muted, yet buoyant toward the second half, which mostly deals with the industry’s decline and aftermath. Later songs like “They Gave Me A Lamp” and “Mother of the Village” highlight the resilience coal miners and their families exhibited, how they accepted their fate and still pushed on. “Politics is life,” says one woman. PSB found deep kernels of truth and constancy in these archives and made sure we heard them.

The album continues to slow considerably with the folk song “You Me,” a pretty tune with lush strings and pure vocals, partially sung in Welsh by Lisa Jen Brown of 9Bach and Willgoose. What’s lovely about “You Me” is that it meanders without ever feeling lost, and speaks more toward miners’ inner emotions than does the tense flash-bang beginning of the album.

As a listener, it was often difficult to reconcile with this transition. The mood at the start feels like the dawn of a new age of prosperity, but the last song on is bare—a men’s chorus that sings of simply coming home, which is all they wanted at the end of every workday. It’s almost as if we’re sold a false bill of goods, which is exactly what the working class in South Wales and elsewhere in Britain were handed. Public Service Broadcasting put that political and economic disconnect into sharp relief, placing human lives and industrial mining on a broad spectrum that let both sides be heard.

 

JJ

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19 hours ago, needlerunner said:

But you listen to Opeth!?

Yer, they are pretty dark. I just hide the razor blades.

I can’t listen to any Metal while tripping, for me they don’t sit well.  Love some Heavy Psy Rock or Psy Trance, but even the Dark Forest Trance is a little too dark for my experience.

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Not spinning right at the moment, but given Janjuc’s last post

 

3 hours ago, Janjuc said:

Listening to Public Service Broadcasting, Every Valley

 

596585516_EveryValley.jpg.981c93cec58cceb510785f6445e1d091.jpg

 

From https://www.pastemagazine.com an excellent review of the album

 

Every Valley, Public Service Broadcasting’s lush, sweeping ode to Welsh miners, sees far past the National Coal Board’s touting of the industry’s fantastical, misperceived longevity, and instead peers into the lives of a proud working class that lived and died by the dank tunnels in which they methodically toiled.

 I recalled one of my purchases at this year’s RSD. In music there is something for everyone 

 

They’ll never keep us down, Women’s Coal Mining Songs

 

 

241E8E79-18B4-463A-A6B6-7C142CB90033.jpeg

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