Goldmine magazine and sister publication Deer & Deer Hunting team up for a special podcast with the ‘Motor City Madman,’ Ted Nugent. As well as being a rock ‘n’ roll veteran, Ted Nugent is also a longtime blogger for Deer & DeerHunting. Listen to the podcast and also learn about Nugent’s latest album, ‘The Music Made Me Do It.’
The post Ted Nugent equates hunting with the rock ‘n’ roll tradition appeared first on Goldmine Magazine.
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“This is about joy and happiness and celebrating everything that’s good,” proclaims Femi Koleoso. “There’s no boundaries to how you express yourself – dance, shout, be mad quiet and stare – but let’s lose the barriers, we ain’t superstars or nothing.” He’s talking about the crash barriers around the stage, but he might as well be talking about barriers musical, cultural or social, as from the word go it’s one big sweaty inclusive party here at Patterns’ seafront nightclub. ‘Juan Pablo’ from their eponymous debut gets things started – a ferocious Afro-beat assault, with Femi flailing at the drums like a man possessed and his bro TJ on bass, a massive presence centre-stage, leaning into the beat as the twin-horn frontline punch out riffs and the close-packed crowd start to move.
Ezra Collective have come a long way since their Brighton debut in the tiny Verdict jazz club as part of the New Generation Jazz programme three years ago – sell-out shows, international touring, JazzFm awards and Femi’s appearance as star of the Champions League TV ad campaign all contribute towards a sense of boundless confidence. The energy seems inexhaustible as the album tracks are extended and sped up into high-octane workouts over pulsing urban-Afro grooves, and though Femi insists “this ain’t just jazz” the band’s instinctive grasp of dynamics and interplay adds a level of depth to the music. There are real conversations taking place onstage, most notably between Femi and keys man Joe Armon-Jones as they toss accents and displaced metrical figures back and forth to each other without ever impeding the flow of the rhythm.
But, ultimately, it’s all about delivering the message to the people through the music. There’s a sense of relaxed, impromptu cameraderie between the band members; like his contemporary Yussef Dayes, Femi has a habit of downing sticks and prowling around the kit mid-song, before leaping back on to drive the groove even harder. TJ abandons his bass guitar to treat us all to some impromptu dance moves; the horns wander off and on stage as the road manager appears at intervals to dispense towels, send hand signals to the soundman or bump fists with the band. Appearances are deceptive however. Ezra have learnt how to put on a show, with Femi as the preacher leading his congregation and all the band playing their parts. There is a real sense of pace, with nicely judged solo spots for each member which never drag into indulgence. Tenor man James Mollison‘s fluent, creative feature leads into a version of Sun Ra’s ‘Space Is The Place’ and the audience respond by demonstrating that new phenomenological development at jazz gigs attended by the under 25s – singing the wordless melody back to the band in a raucous ragged unison. Dylan Jones on trumpet has a soulful excursion that shapes itself into the old chestnut ‘Pure Imagination’ – elsewhere he demonstrates tough chops and enough power, precision and imagination to really fly over the inexhaustible updraught of energy from the rhythm section.
This is a band really in their element; facing a room packed full of their diverse peers who dance, scream their approval, film on their phones and jostle for position in the most good-natured way possible. With a fair smattering of greyer heads also among the crowd, it’s a truly mixed demographic, reflecting back the sense of positivity and inclusion emanating from the stage. The finale sees the whole club get down low on the floor before rising up to a real hands-in-the-air moment. As Femi exhorts us to “study what the prophet says and use it to move forwards”, Ezra Collective seem like a band determined to do just that. If they can harness this vibe in all it’s magnitude in the studio and send it out across the world, they could be set for big things indeed.
– Eddie Myer
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The Concorde usually hosts mid-ranking rock bands or popular club nights. Tonight it’s completely sold out for an acoustic piano trio. GoGo Penguin walk onstage like rockstars to John Carpenter style atmospherics – Chris Illingworth plays one repeated note from the piano amid the swirling sea of haze and reverb. There’s a surge of excitement from the crowd as they recognise the intro to the latest release, A Humdrum Star – good market penetration there, guys. Then Nick Blacka on bass and Rob Turner on bass kick in with a rushing, tumbling rhythm and we’re instantly caught up and carried away.
GoGo Penguin have been working towards their vision of jazz music as spectacle since their inception, and bigger stages and more financial clout have brought their design closer to fruition. The band have a level of togetherness, telepathic communication, and control at high volume that come with years of touring at a level that affords decent monitor systems. While both Blacka and Turner play with a shade more freedom than on the record, each move is still carefully plotted around the matrix of Chillingworth’s repetitive piano figures to achieve maximum impact, and nothing is left to chance. The M.O. has remained basically consistent throughout their five releases to date; plangent minor chord progressions over Blacka’s rock solid, powerfully accurate bass and Turner’s busy, restless drum figures, ever building towards the big final reveal.
The dominant mood might be described as euphoric melancholy – a big-sky emotional uplift that perhaps has it’s closest parallels in the indie-rock of artists like Bon Iver. But everything has gone up a gear since their last release; added lights, pulsing strobes and extra sound gear are deployed to such overwhelmingly immersive effect that it’s hard to remember that the band we’re watching has the same basic line-up as, say, the Bill Evans Trio. Tuner’s kick-drum now has the sub-bass impact of the proper club music – Blacka’s bass retains it’s natural tone, with audible clicks and growls, to function as the articulate voice at the centre of the sound, and is granted most of the improvisational space – Chillingworth’s piano is enhanced with massive reverbs to mimic the electronica that inspire the band’s vision. They have successfully mined the seam of wistful ambient hipness personified by such emblematic post-millennial artists as Bonobo and Nils Frahm and added a level of muscular virtuosity to deepen the appeal; the audience ranges from young twenty-something urbanites to grizzled jazz connoisseurs, and their absorption in the music’s shamelessly direct emotional manipulation is total.
‘One Percent’ from their last v2.0 release is something of a mission statement, and the eerie reproductions of electronic data glitches that the band play in the closing moments have been expanded to an almost supernatural degree of tightness – this is a truly unique musical language that the trio have developed. Blacka has an unaccompanied solo spot that reveals an unexpected Celtic tinge to his phrasing, and also takes on the role of compere, breaking the tension with carefully timed announcements of unassuming Northern matiness. The final track, ‘Transient State’, takes the formula and refines it to the extent that the strobes are pulsing in and out in perfect sync with the opening and closing hi-hat. The next step is surely some kind of VR-enhanced, all-out sensory assault as GoGo Penguin take their unique vision out across the world, as far as it can take them.
– Eddie Myer
– Photo by Lisa Wormsley
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In the last 12 months of sales, a handful of downright eye-popping transactions happened in the Discogs Marketplace. Five records broke the $10,000 plateau, which happened only once before in the site’s history! There were two promo copies of The Beatles’ Love Me Do, an unreleased Sex Pistols single, a Japanese Pink Floyd album (surprisingly not Dark Side Of The Moon!), and of course the record-breaking $27,500 Canadian copy of Prince’s The Black Album.
Top-end prices are at an all-time high, and vinyl is as cool as ever. It’s even led to some fear of vinyl being commodified the same way modern art has, functioning purely as a material to be bought and sold by investors. This means deep-pocketed buyers would purchase high-end items at the top of the market in hopes of selling at a tidy profit down the line.
Think of them as uber-flippers. It goes well beyond the canny flipper rummaging through dank basements in hopes of an unbelievable score. There’s no desire to find a deal or hunt for the perfect piece; just buy, sell, buy, sell. That kind of behavior usually leads to artificially-inflated prices and a bubble.
That said, doom and gloom is nothing new for the vinyl world. Some naysayers have been predicting a vinyl bubble since the format’s resurgence began in the mid-’00s. Others pointed to Record Store Day as the beginning of the end. So who knows, really?
If you’re a collector, though, that doom and gloom might be concerning. You’ve put thousands — maybe even tens of thousands — into your passion. That Love Buzz purchase didn’t come cheap. You don’t want it to go up in smoke; especially if that literally happened, and your insurance only paid a fraction of the sticker price. You want to know if your investment is safe.
We can’t definitively say what the spate of brain-scrambling sales mean, but we’ve tried suss out fancy-vinyl-buying prospects by combining data from our most-expensive lists, cultural pulse-taking, and analysis. There are even a few takeaways for those of you hoping to get in on the “vinyl investment” action. Just don’t be a dick about it and ruins things for the rest of us.
If you look at the chart below — which collects the number one items in our monthly most-expensive list and averages them by quarter — a few things become apparent. The big takeaway is that the highest-priced records are trending way up.
That may seem obvious, considering the five aforementioned $10,000-plus records, but it goes deeper than that. While only one album cracked that threshold prior to October 2017, the highest-priced records in the top 30 lists began to routinely pull away from the pack in 2015.
Prior to that, the number one album in the list would be between a few dollars and a few hundred dollars more than number two. That all changed in March 2015, when a record finally sold for more than $5,000.
That month, Judge’s Chung King Can Suck It topped the list at $6,048. It went for over $3,000 more than the number two record, a copy of The Damned’s debut album at $2,853. From there, things start really flying. Sometimes the number one seller was more in line with the rest of the top 30, but there were plenty of Judge-style jumps.
At first glance, it might seem like the market for expensive items is absolutely on fire, and Discogs might even be to blame. If you take a broader look at the world of ultra-rare vinyl though, a slightly different picture emerges: One where Discogs isn’t driving up prices, but just helping ridiculously-expensive vinyl become more mainstream.
In the past, there were plenty of jaw-dropping sales. In fact, the $27,500 Prince album sold through Discogs pales in comparison to the one that went for $42,000 at auction months before. For years, you’d see a story almost every month about a record at auction with a price tag equivalent to a modest mortgage or audacious sports car.
Then there are the sales you never heard about in the first place. Punk legend and noted collector Henry Rollins is familiar with that phenomenon. “There are some serious deals that go down outside of eBay and Discogs. I’m in that loop,” Rollins revealed. “Acetates, original artwork, etc. It’s all done very quietly. You get the email, and you tell the guy if you’re in or not, the money is wired, no PayPal. I have gotten some one-of-a-kind stuff that way.”
Former Warner Bros’ executive and renowned rare vinyl dealer Jeff Gold travels in those circles as well. “Many things never make it to the open market,” said Gold. “I buy collections often (as recently as 1,000 LPs on Monday) and have many private collectors who I sell to. I know what they like, and regularly one phone call or email is all it takes to sell a rare record.”
Those high-profile auctions and underground sales aren’t going away, but vinyl continues to become more mainstream. As such, ultra-rare vinyl follows suit. That means more of these records find their way to the general audience — even if most buyers are can only drool over them.
“The market for truly records has never been stronger, and Discogs is an important way for buyers and seller from all over the world to find each other. It functions as the world’s largest record store, with customers virtually ‘hanging out’ as they used to do in person.” Gold added. “When something truly rare surfaces, it’s one of the first places I go to find customers.”
In other words, prices might be going up, but the last year of sales in the Discogs Marketplace don’t necessarily point to commodification and a rare vinyl bubble.
Since top-end sales on our most-expensive lists have outstripped the rest, it doesn’t help us understand where prices are as a whole. Instead of looking at number one on the top 30, we’ve taken a look at the other end of the list: the 30th most-expensive seller each month.
The chart above looks very different from the previous chart. What you see when looking at history of 30th-place sales is strong, but steady growth. Number 30 might’ve jumped from $300 to $1,300, but that didn’t happen overnight. It took over seven years to crack $1,000 consistently.
We can’t say for certain what this means, but conventional wisdom is that steady growth means safe growth and a safe future. So if you have records worth a few hundred to a couple thousand bucks, the bottom likely won’t fall out and will continue to rise slowly on the whole.
Granted, some records don’t hold their value for one reason or another. Maybe someone finds a storage unit with 300 copies of an album, doubling what was known to be on the market. Maybe interest in late-’80s West Coast hip-hop singles will wane. But hey, you didn’t buy it to flip, right? If you’re hanging onto your collection because you love it, then you’re good.
If you’re looking to expand your record-buying budget, there’s always the aforementioned fear of losing your ass. You’ll buy something for $90 one day, and it’ll be worth $30 the next day. Or if you’re feeling froggy, you make a $700 purchase, only to see its price plummet in the ensuing months.
We can’t guarantee you’ll be able to stave off losses like that, but we have a few tips to guard against it. Ignore them at your own peril!
One easy way to ensure an expensive record will maintain value is to keep an eye on our monthly most-expensive lists. If you comb through them, you’ll notice some that pop up on a regular basis. Keep an eye out for the repeats that have an upward trend in sale prices, like the MoFi Beatles box set or Orange Juice’s Falling And Laughing single, which have both made the list over a half dozen times.
Since the main concern isn’t resale value, it’s also a safe bet to snag things that’ve stayed roughly the same over the years, such as the Val Bennett Atlas single or the red and white version of Nirvana’s Bleach. The coveted near mint versions may be out or reach, but a VG ain’t so bad.
You can also identify larger genre or style trends from the list. A studious collector will notice that plenty of black metal ends up on the most-expensive lists, clustered around specific scenes and artists. Names like Burzum and Darkthrone are common occurrences. You might not be able to drop $1,500 for their rarest LPs, but you can be certain their other albums or those from related artists will hold up.
You might think it’s a good idea to see what older music is still popular. There’s wisdom in seeking music that stand the test of time, however you need to be careful. It’s easy to confuse steadfastness for nostalgia. If you make a hefty purchase by conflating the former with the latter, you could be in trouble.
Brent Greissle, our Discographies Specialist at Discogs, has seen it before with past generations. “There was the big band stuff that was huge, but those people died out,” he cautioned. “Doo wop was huge. That was a really freaking big deal for a while. All the big money records were in doo wop. No one has seen serious sustained prices like that since the ’90s. But then it got wrecked when those collectors started dying off.”
It’s important to try and figure out exactly what’s going on under the surface when prices are surging. Greissle added, “Whether it’s college students buying $12 copies of Rumours or investment bankers are all buying up those rare punk records, there are a lot of factors when thinking about why something is valuable now.”
There’s one place Greissle recommended above all else if you’re looking for expensive records, and it might seem a little counterintuitive: The dollar bin.
“Buy anything that looks interesting out of the dollar bin,” he said forcefully, and for good reason. “A decent percentage of the records I’ve gotten that are worth real money came out of the dollar bin, because people didn’t recognize them or know how to price them.”
He continued, “Run through as much stuff as possible from the dollar bin that seems weird or cool. If you keep it up, you’re bound to find something there.”
This might seem like the most obvious advice possible, however it’s also the most important. Even if you’re looking for vinyl that is — or will eventually be — sought after, it doesn’t make sense to pick up items that you don’t actually care about.
The magic tends to happen when you’re seeking out odd stuff that seems interesting to you. “The people with amazing, rare collections that you hear about,” Greissle reasoned, “were usually people who were doing cool stuff and looking for cool stuff at the time.”
In other words, trust your own instincts and dig in. As Greissle said, “Find the stuff you really enjoy that isn’t being being talked about and shoved in your face day in and day out. It’s the cool, hip underground records you’re into that will always hold value.”
The post Sound Investment: What We Know About The High-End Vinyl Market appeared first on Discogs Blog.
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