"You’re a record guy, right?” says Chrissie Hynde as she leads Record Collector into the lounge of the Little Venice garden flat she shares with her dog Nico. These five words communicate a lot. They tell you that not everyone who comes here wants to break bread around the turntable that sits beside her favourite armchair. But if they do, then this interview will almost certainly run way beyond the time allotted to it. And in uttering those five words – “You’re a record guy, right?” – one more thing is communicated. Take it as confirmation that the things that got Chrissie Hynde excited back in 1973 – when she moved from Akron, Ohio to be closer to the music that set her own destiny – are still the things that get her excited now.
She grabs the record on top of the pile, Spooky Two – the Jimmy Miller-produced 1969 album by soulful Anglo-American rockers Spooky Tooth and asks me if I know it. I confess that I don’t, but that merely compounds her excitement. Because the best bit of being into records is turning someone onto something they’ve never heard before. “What guys sing like that anymore?” Hynde exclaims, as Mike Harrison’s voice takes flight on Feelin’ Bad. “I mean, really. Who’s around now who can do that?”
Then she pulls out three more albums: Aldous Harding’s most recent release, Warm Chris, Kim Fowley’s 1975 album Animal God Of The Streets (“a fucking flex of a record”) and the 1973 debut by Bostonian singer-songwriter Andy Pratt, an old favourite from her stoner days.
هذه القصة مأخوذة من طبعة October 2023 من Record Collector.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 8500 مجلة وصحيفة.
بالفعل مشترك ? تسجيل الدخول
هذه القصة مأخوذة من طبعة October 2023 من Record Collector.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 8500 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
"Things can go very badly wrong"
But not too often. The Iron Maiden singer, aviator, business mogul and awardwinning everyman, Bruce Dickinson, returns with a new solo album, The Mandrake Project – Top 10 across the planet at the time of writing – and a ton of anecdotes about his extraordinarily successful career. Just don’t try and put him in a box. “I’m not a number, I’m a free man!” he warns Joel McIver.
Out Of The Darkness
Long-anticipated solo debut from Portishead singer is worth the wait
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The end of an era for Bolan's glam-rock trailblazers.
SOCK IT TO ME DISC-ITS! WHEN TWO TRIBES VINYL AND CD (AND CASSETTE) WENT TO WAR
Dream, if you can, a courtyard. An ocean of violets in bloom. Alternatively, a 1984 record shop and all its pristine treasures. Close your eyes, let’s go there together. What do you see? From chest-level down – vinyl.
Steve Harley 1951-2024
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The Collector
Swiss-based Icelander Sunna Margrét is a rising force in experimental pop. Having begun her career as a teenager touring with electro-pop ensemble Bloodgroup, she is about to release her debut full-length solo LP, Finger on Tongue.
She'd only Just gun
With their rapturous harmonies, the Carpenters dominated the 70s’ airwaves, selling over 100 million records with hits like Close To You and Yesterday Once More. But by 1979, lead singer Karen was seeking a new direction… Biographer Lucy O’Brien recounts her attempts to move out of the restrictive environment of the family band that had made her a star
PNEUMATIC FOR THE PEOPLE
Forming in West Berlin in 1980 and achieving their greatest notoriety circa 1984, industrial noise-punks Einstürzende Neubauten have far e xceeded t he i r p ro jec ted l i fe expectancy. Founding frontman Blixa Bargeld traces the evolution of the metalbashing pioneers. Jeremy Allen is all (suitably protected) ears
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Being Soaring.
In April 1984, the original, faster Bobby Oproduced version of West End Girls was released.