Preface
Much of what
follows is intended to be a snapshot of music retailing at the UK at the end of
the 1970s. In the interests of
continuity, and because I have waffled on at some length, certain events from
outside of this time frame have been allowed to sneak in.
The Intro
In the hot
summer of 1976, in a small market town in eastern England, a little record shop
was opened, at the far end of a back street.
Despite being quite compact – about the size of a small clothes boutique
– the shop was stocked with thousands of albums, including many that could not
be found elsewhere on the high street.
Nor, apparently, in the large London mega stores.
I asked for
a Saturday job but was declined, being only 15 years of age.
Three years later...
“All you
kids that just sit and whine
You should
have been there back in '79
You say
we're giving you a real hard time
You boys are
really breaking my heart.”
- Tom
Robinson; Summer of ‘79
The country
was at the end of a turbulent decade.
Unemployment, interest rates, taxation and inflation were high;
industrial relations were appalling.
Manufacturing was down. In May 1979,
Britain elected its first female Prime Minister. There were only three TV channels, which went
off the air after midnight, as did most radio stations. Some TV programmes were still made in black
& white. Breakfast TV consisted of
The Open University, daytime TV featured The Test Card. Newspapers were still printed in black &
white. Petrol was 79p/gallon (17.5p
litre), milk 15p/pint; bread 9p/800g loaf, draught lager 35p/pint; 20
cigarettes 60p. Pubs shut in the afternoon and closed at 10.30 in the
evening. The average weekly wage was
£32. VAT almost doubled to 15%; basic
rate income tax dropped to 30%. Interest
rates increased 2% to 14%. Prescription
charges went up from 20p to 45p. Car tax
was £50/year or £18.35 for 4 months.
A serial
killer, nicknamed The Yorkshire Ripper by the media, was on the loose. Irish republican terrorists murdered MP Airey
Neave and Lord Mountbatten of Burma. The
USSR invaded Afghanistan, The Ayatollah Khomeini returned to Iran after 15
years exile. Rhodesia became Zimbabwe;
Egypt and Israel signed an historic peace treaty.
Sid Vicious,
Lowell George, Donny Hathaway and Minnie Riperton died. Sophie Ellis-Bextor, Jamie Cullum and Will
Young were born. John Lennon, Bob
Marley, Ian Curtis, Bon Scott and John Bonham were still alive.
In August,
the record shop advertised in the local newspaper for a full-time sales
assistant. By then I was 18. I applied and was accepted.
Our Favourite Shop
The window
display comprised of a mixture of chart, new-release LP and special offer
sleeves, with (heavily discounted) prices written on white card in black
chisel-tip marker. There was a selection
of accessories laid out at the foot of the display (LP and singles cases; blank
tapes); promotional posters & lists of the latest special offers were taped
to the inside of the glass.
The strategy
was straightforward – the shop aimed to keep practically every available album
by all major and many lesser-known artists.
There was everything by The Beatles, including all the available solo
albums, compilations and imports.
Everything by Hendrix, The Stones & Dylan. And Jethro Tull, The Band, Status Quo, Frank
Zappa, Van der Graaf Generator, Eagles and Barclay James Harvest. As well as Gordon Lightfoot, Poco, The
Grateful Dead, Barbra Streisand, Gil Scott-Heron, The Ohio Players, Jefferson Airplane/Starship,
Amon Duul II; Curved Air, Edgar Broughton, Birth Control, The Pink Fairies, Don
Williams, June Tabor, Ashra Temple, Pure Prairie League, Otis Redding, Dory
Previn, Planxty and Curtis Mayfield.
Hundreds of
picture sleeve singles were displayed on the walls. Most of these were independent punk and
new-wave records. There was a small rack
of (mainly disco) 12” singles on the counter plus more 7” indie singles piled
next to the cash register.
UK LPs were
about £4.99. Chart albums were
discounted by £1.10, unless they appeared on TV Advertised labels such as K-Tel
and Arcade – these listed at £5.99 and were discounted by 25p. Catalogue LPs were reduced by 40p. Singles were 89p, 12” singles ranged from 99p
to £1.99.
New American
import LPs were £5.75. Import 12”
singles were £3.49.
Cassettes
tended to sell for 20-30p more than their LP counterparts.
The shop
stereo sounded terrific. There was a
Goldring Lenco turntable with a Shure M44E cartridge; an Alba UA 900
amplifier and
Goodmans RB20 loudspeakers. The deck seemed able to
play the most sibilant and difficult records without mis-tracking; the speakers
were nothing less than extraordinary despite being quite small.
New Beginnings
Monday,
August 20th, 1979 – my first day. Drums
& Wires, the new LP by XTC was released.
The first few thousand copies were bundled with a free single
(q.v.). A few weeks later, Making Plans
For Nigel was lifted from the album and became their biggest hit.
We Don’t
Talk Anymore by Cliff Richard was the number one single. We would normally have
kept 30 to 50 copies of a no. 1 single in stock; but there was no Cliff. EMI’s distribution depot was on strike; we
were turning customers away. The
industrial disputes of the 1970s are now a distant memory; yet at the dying end
of the 70s consumers seemed quite prepared to accept the sporadic shortages
that had plagued the country since the miners’ strike of 1972. Meanwhile, EMI’s distribution would remain
chaotic (industrial action or not) into the mid-1980s.
The number
one album was an uneven collection of soul & disco tracks assembled by
WEA. The Best Disco Album In The World
was being advertised on television (q.v.); but not in our TV region. We weren’t selling that many copies .
I was finally
working behind the counter of a record store.
I imagined myself as a local celebrity; I wanted to spend the rest of
the day playing records but instead I was serving customers, pricing albums
and filing away stock. Nonetheless, I
felt as if I was in heaven. University would have to
wait.
Way Back When
Our store
was one of a chain of five shops.
Smoking was permitted in the store, on both sides of the counter. There were ashtrays everywhere. In 1979, everybody smoked.
In addition
to records and cassettes, we stocked a sizeable range of accessories, including
plastic & paper sleeves, replacement styli, blank audio and video cassettes
and record tokens. In addition, we kept
posters, music books, and badges.
We kept all
The Beatles’ singles and EPs (all still available in picture sleeves) plus many
of the Rolling Stones’ Decca 45s. For no
apparent reason, Question by The Moody Blues sold frequently as a single.
Albums were
filed behind the counter using a numbering system. Human error meant that albums were on
occasion incorrectly numbered and lost, sometimes permanently. Otherwise, the numbering system provided a
fast method of LP retrieval.
We
subscribed to, and relied on, the trade papers Music Week and Record
Business. We also took NME, Sounds and
Melody Maker. In 1979, our shop did not
contribute sales figures to the BRMB weekly chart. As a consequence, record company reps, keen
to hype their latest acts up the charts, seldom called in. But we received regular visits from album
display teams, who would staple album sleeves, posters and cardboard cut-outs
over any available wall space, to promote the latest new releases.
If customers
asked nicely, they could listen to an album or single. Teenagers and students liked nothing more
than hanging out in the shop and listening to their favourite records – a
practice that was slowly discouraged over the years. The days of the head shop were
numbered.
Local mobile
DJs called in on Friday afternoons to stock up on the new releases and whatever
had been featured on Top Of The Pops the night before. They expected (a) to be able to listen to
anything and everything for as long and as loud as they pleased and (b) receive
some form of trade discount. Which was
another practice that was phased out.
Mums &
dads as well as kids bought quantities of singles on the weekend. Watching Top Of The Pops could be a family thing, if only for Father
to comment upon the length (or colour) of a performer’s hair. The programme had a viewing audience
approaching 19 million . An appearance
on TOTP was a practical guarantee of increased sales.
The Old Grey
Whistle Test was presented by Anne
Nightingale (Bob Harris having resigned in 1978).
Whilst it did not have the viewing figures or clout of TOTP, the
programme did much to promote and raise awareness of underground and
alternative music. We could sell several
copies of an album following a band’s appearance on OGWT.
Even
considering Top Of The Pops, The Old Grey Whistle Test, the music papers and
Radio 1 , it was still difficult to explain why certain albums sold and others
did not. For instance, Long John
Baldry’s 1979 LP Baldry’s Out was a steady catalogue seller. We had no idea why; there was no hit single,
the LP had not graced the charts. There
were no positive reviews nor heavy radio play that we were aware of.
Home video
had not caught on as of 1979. It was an
expensive pastime – VHS machines cost c. £800; a blank 180-minute tape was £20;
the first pre-recorded video stocked were £50.
In 2018 values, that’s £4200 for the recorder, £105 for blank tapes and
£264 for a pre-recorded film.
Our first
stocked pre-recorded movie was The Stud, starring Joan Collins and Oliver
Tobias. Which, at the time, was
considered somewhat raunchy.
The shop till was thunderously mechanical – it could not give itemised receipts, we had to
total up figures in our heads.
Calculators were frowned upon.
Our phone had a dial; connection to a London number could take 30-40
seconds via the antiquated GPO exchanges.
On Monday and Wednesday mornings, orders were placed by reading out
catalogue numbers and quantities to sales departments via telephone. This arduous task was made easier with strong
coffee and cigarettes.
The oldest
record in our store was Live Libel by Pete Atkin and Clive James. It had never sold a copy; we kept it in the
racks as a kind of heirloom.
On The Day
In 1979,
charts were compiled by British Market Research Bureau from the previous week’s
sales. Thus, to maximise sales data,
albums and singles were issued, i.e. arrived in-store, on a Monday. Today, many websites - including Wikipedia –
incorrectly quote Fridays as being LP release days.
Pink Floyd’s
The Wall entered the albums chart on Sunday 8th December 1979, the charts being
unveiled the following Tuesday 10th December.
Thus, the record went on sale on Monday 3rd December 1979. Wikipedia records that the LP was released on
Friday, November 30th, 1979.
Some quote
that release date of Tormato, the ninth album by Yes, to be as early as Friday,
8th September 1978 . The LP arrived in
store on Monday 2nd October 1978.
However, the LP was being played on the radio a month before its
release. It was often difficult to
convince certain customers that although some records could be heard on the
radio, they were not yet on sale.
Shipments of
new release albums were sent to local distribution depots on Fridays. These were delivered to stores on the
following Monday. Occasionally, due to
administrative errors (or enticements offered to delivery drivers), the new release shipments were delivered to stores two
days early i.e. on the Saturday - before anyone else had them in stock.
Guilty Pleasure
Home
entertainment was not altogether free and on-demand. In 1979, hearing a desired piece of music
often required purchasing a record or tape.
Otherwise, one could listen to the radio or watch one of the few
music-based TV shows in the hope that they’d play your song. You could try sending in a request to a radio
station, on a postcard. Perhaps you
could borrow/request that particular record from a friend or library. Or even try Dial-A-Disc by calling 160.
Records that
were bought on speculation, personal recommendation or on the strength of a
favourable review would invariably be afforded plenty of hearings, no matter
how awful the album turned out to be.
When money was short, you’d play your new LP record until you jolly well
did like it. One might even damn it
with faint praise by asserting that, “There’s a couple of good tracks on it…”
Behind the
counter, we could listen to anything - within reason. We obviously couldn’t play Derek &
Clive. I was dissuaded from playing
anything by The Residents - they were considered too weird. And we had to take turns in making the next
audio selection.
This freedom
to pick and choose liberated us from the rigid views imposed by the oh-so-trendy music press - not to mention
the favourable bias awarded to one's paid-for record collection. We formed our own opinions. We did not need Julie Burchill & Tony
Parsons, Charles Shaar-Murray or Paul Morley
to tell us what was acceptable to dig, or to buy.
It became
clear that a large percentage of music raved over by the UK music press was (in
my humble opinion) badly written, badly performed and badly produced tosh. The following albums were amongst the NME’s
1979 albums of the year. We listened to
them all. Which not altogether a pleasant
experience...
- Metal Box - Public Image Ltd.
- Unknown Pleasures - Joy Division
- Entertainment - Gang Of Four
- The Raincoats - The Raincoats
- 154 - Wire
- New Picnic Time - Pere Ubu
- Cut - The Slits
- Dragnet - The Fall
- This Heat - This Heat
- A Train To Marineville - Swell Maps
- Soldier Talk - The Red Crayola
- Reproduction - The Human League
Record shop staff could pick and choose from thousands of albums from any number of genres, free
from the lofty ideals of the media’s self-appointed taste-makers. It began for me began a
musical journey that continues to this day.
And if any
of the albums listed above floats your boat, that’s not a problem. Dig, and dig deep. But don’t write off Jackson Browne and Steely
Dan because you like New Order and The Cure.
Or vice-versa.
Forty-Five
Best-selling
albums are often peppered with hit singles.
A sizeable percentage of our customers flatly refused to buy 45s,
preferring to wait for the LP release – their logic often being that LPs
sounded better and represented better value than singles. Furthermore, many singles were edited from
their LP versions. Before the mass
availability of 12” singles, the most complete version of a song was usually
found on the LP.
It is worth
considering the relevance of chart singles in correlation to the success of
chart LPs. Whereas in the 1960s, it was
unusual to feature more than one hit single on a long player, by the end of the
seventies three or four album tracks from an album might be issued as 45s. Record companies realised that the best
possible advertisement for any LP was the inclusion of a hit single. Three hit singles from one LP would
practically guarantee triple-platinum status.
At which point, the album should and would continue selling substantial
quantities, minus any further promotion.
Triple-platinum status remains the goal of record labels
everywhere.
However, the inclusion of several hit singles does
not always make for a great LP.
Nonetheless, albums that do not contain a hit single or two will rarely
stay in the charts for long.
By the early
1980s, American major record companies were insisting that all singles should be available on long-playing albums. In the
UK, bands such as The Jam, The Human League and Madness continued to release
non-album singles. US and Japanese
record companies responded by assembling many groups' A & B sides plus
assorted rarities (remixes, live tracks) into a new format – the mini album.
On The Box
In June
1972, Canadian TV marketing company K-Tel leased 20 singles from the EMI and
CBS stables and compiled them on to one album.
The record was advertised on television, it sold for £1.99 – the price
of four 7” singles. 20 Dynamic Hits was
the first mass-marketed LP to collect chart singles from more than one record
label. The record became the biggest
selling UK album from 1972 – it toppled The Rolling Stones’ Exile On Main
Street from the number one position and stayed at the top for nearly three
months. The track selection was
surprisingly rocky – the LP opened with Argent’s Hold Your Head Up, also
included were Deep Purple’s Fireball and Black Night, Santana’s Everybody’s
Everything, Sly & The Family Stone’s Family Affair, Redbone’s Witch Queen
Of New Orleans, The Move’s Tonight and Blood Sweat & Tears’ Go Down
Gambling.
K-Tel
followed up with 22 Dynamic Hits Vol. II – by which time, A&M, B&C and
Pye records had also agreed to lease tracks to the label. More TV advertised LPs on other labels
appeared - Arcade records issued 20 Fantastic Hits, Ronco released the LP
Believe In Music.
Pre-K-Tel,
the only LPs that collected chart music consisted of hideous re-recordings by
struggling session musicians. Albums
such as Hallmark’s Top Of The Pops (no relation - The BBC has forgotten to copyright the name of their flagship programme) and
Music For Pleasure’s Hot Hits cost 50p, sounded dreadful and invariably
featured scantily clad models as part of the sleeve design. It was seldom mentioned on the LP sleeves
that the recordings were cover versions and not by the original artists.
Post 1972,
the album charts were littered with 20-track-plus TV advertised
compilations. It didn’t seem to matter
that the 30 minutes-plus per side playing time blunted the sound quality. Few
noticed or cared when the songs included on such LPs were cut short from the 45
rpm versions.
In 1976, EMI
issued the first of many 20-track sole artist TV advertised albums. 20 Golden Greats by The Beach Boys
(catalogued EMTV 1) immediately went to number one; albums by The Hollies,
Diana Ross & The Supremes, The Shadows, Frank Sinatra and Glen Campbell
followed in the series. Nearly every
album in the EMTV series topped the LP charts.
The UK’s top
50 best-selling albums of 1979 included the following TV-advertised various artist
compilations: - Country Life, Action Replay; Don’t Walk – Boogie and The Best
Disco Album in the World (q.v.)
(Years later, many more TV-advertised albums would appear claiming to be The Best [enter musical genre here] Album In The World/Universe/Cosmos, Ever!)
The following were also made the top 50: - Bridges by
John Williams; A Collection of Their 20 Greatest Hits by The Three Degrees,
String of Hits by The Shadows, 20 Golden Greats by Diana Ross and The Very Best
of Leo Sayer. All were advertised heavily on
television.
The TV
advertised album changed the way that pop music was marketed in the United
Kingdom, and arguably, throughout the world.
The mums & dads that had not bought records since their teen years
were now within reach of marketing departments.
Pop-pickers could now own 20 chart tracks for a fraction of the price of
buying them individually.
In 1983, the
major labels (EMI, Virgin, Polygram, WEA and Island) sought to break the
dominance of the TV labels such as K-Tel, Warwick and Arcade by launching the
Now! That’s What I Call Music series.
These albums compiled on average 40 recent chart singles across a double
album and sold for £6.99. The
availability of so many recent chart tracks for such a low price proved
irresistible for many.
The demand
for TV advertised albums – especially those by various artists – was entirely
driven by the TV campaigns. Many record
stores were left with piles of tawdry LPs and tapes that were impossible to
sell once the TV adverts ceased.
However, some of the better-quality artist compilations (such as EMI’s
20 Golden Greats series) often became regular catalogue items.
Hot Cookies
In late 1979
Bon Scott, the lead singer of hard rock band AC/DC, was still alive. Highway To Hell was released in late
July. It would be his last album with
the band – he would die from alcoholic poisoning the following February. The first single from the LP only just
slipped into the top 60. AC/DC were (and
remain) an albums band; their LP sales resoundingly unaffected by the singles
chart.
In 1978, the
Commodores managed five weeks at number 1 with Three Times A Lady. In late 1979, their new LP Midnight Magic was
selling on the strength of the syrupy ballad Still and the country-tinged Sail On.
(Not many listeners seem aware of the influence
of country music on Lionel Ritchie’s song writing. Listen again to the Commodores’ Easy, Sail
On, plus Deep River Woman from Lionel’s Dancing On The Ceiling album)
In 1978,
Dire Straits sold copious quantities of their self-titled debut album and hit
single, Sultans Of Swing. The new LP,
Communiqué was well received and sold keenly but some noted that the single,
Lady Writer was a bit too much like Sultans.
Communiqué was their difficult second album.
Formed in
1970, Earth Wind & Fire had become a global success in the latter half of
the 70s. The LP I Am was issued in
summer 1979, it was raided for no less than five hit singles and spent 41 weeks
on the UK chart. It is their
best-selling and possibly their most fondly-remembered album.
The Electric
Light Orchestra – better known as ELO – had scored four top 20 singles with
tracks released from their 1977 double album, Out Of The Blue. In May 1979, the follow-up LP, Discovery was
released; it produced four top ten singles.
The former LP spent over 100 weeks on the chart, the latter more than
40. ELO were absolutely on fire. Meanwhile, in the United States, their record
label (Jet) had switched distribution from United Artists to Columbia/CBS. Tens of thousands of remaindered American
United Artists pressings of Out Of The Blue ended up in the bargain bins. The LP retailed at £8.99 for a UK copy,
whereas the US remaindered (cut-out) version went for £2.99. Both the UK and US arms of Jet Records
unsuccessfully tried to halt the sale of the cheap American copies. Discovery and Out Of The Blue frequently sold
as a twin purchase.
In December
1978 Ian Dury & The Blockheads reached number one with Hit Me With Your
Rhythm Stick. The following August, the single Reasons To Be Cheerful, Part 3
climbed to number three. Neither single
was included on the band’s new LP, Do It Yourself. The LP reached number two in the charts and
spent 19 weeks in the top 100; but did not become a catalogue seller. The LP contained no singles – none of the
songs on the LP were top twenty material.
Do It Yourself was nonetheless an excellent record; artistically it
didn’t need the inclusion of the recent singles. On the other hand, had Hit Me With Your
Rhythm Stick and/or Reasons To Be Cheerful been included on Do It Yourself, the
record might have outsold his debut album, New Boots & Panties. Despite releasing a string of superb albums
and singles, Ian Dury would not trouble the charts
again.
Neil Young’s
Rust Never Sleeps was issued in July 1979; it was the follow-up to his
acclaimed album Comes A Time. The single
from the album - Hey Hey, My My (Into The Black) – did not chart. Rust Never Sleeps sold exceptionally well for
an LP that was not being played on the radio, contained no hit single and was
not supported by a UK tour. The record
became an instant back-catalogue best-seller.
Richie
Blackmore’s Rainbow had a surprise hit in September 1979 with an atypically
commercial reading of Since You’ve Been Gone, a song written and first recorded
by Russ Ballard. In 1978, the song had
been covered by the South African group, Clout.
Rainbow’s recording reached number six; the LP Down To Earth crossed
over and sold to mainstream buyers. It became
their biggest album and kicked off a string of hit LPs and singles that lasted
until the reform of Deep Purple in 1984.
Ry Cooder’s
eighth album, Bop ‘til You Drop, was his first to reach the UK album
charts. This likeable mix of rare and
traditional R’n’B songs was perhaps his best album to date. The record received considerable media
attention, not least from being the first digitally recorded popular music
album to be released on a major label.
Supertramp’s
1979 LP Breakfast In America dispensed with the progressive approach of their
five previous albums. The band had
relocated to California the year before, unsurprisingly the new LP featured an
FM-friendly American west-coast sound.
The album contained two UK top ten singles plus two more turntable
hits. The LP was amongst the top selling
albums of the year; the band's subsequent releases would not repeat its success.
New Wave and Heavy Metal
Despite the
upheaval caused by punk rock two years earlier, music in the albums and singles charts remained
largely safe and of the mainstream. The UK’s three
best-selling singles in 1979 were by Art Garfunkel (Bright Eyes), Cliff Richard
(We Don’t Talk Anymore) and Dr Hook (When You’re In Love With A Beautiful
Woman). The only genuine punk singles to
reach the year-end top 100 were Hersham Boys by Sham 69 and C’Mon Everybody/Something Else by the Sex Pistols.
Stiff Little
Fingers’ debut album, Inflammable Material had reached no. 14 in March and
spent 19 weeks on the charts. In
October, U.K. Subs’ Another Kind Of Blues LP reached 21 and had a 6-week chart
run. The Buzzcocks failed to crack the
top 20 singles in 1979. Their third
album, A Different Kind Of Tension, spent just one week in the top 40. The Ramones' long-awaited collaboration with
Phil Spector, End Of The Century, was a huge disappointment and signalled the
end of the band’s glory years. The
Damned’s third (and arguably, best) LP Machine Gun Etiquette stalled at 31 and
spent only 5 weeks on the chart, despite containing three hit singles. And although records by Squeeze, The Jam,
Clash, Boomtown Rats, Police Ian Dury, Elvis Costello, Blondie and Gary Numan
sold in large quantities, the music of these and other similar acts had by now moved far beyond
punk and New Wave.
Punk was not
entirely dead. An underground of
hard-core anarcho-subversive bands was alive, led partly by The Dead Kennedys
in the US and Crass (q.v.) in the UK.
Although punk rock would continue to endure in small venues and on
independent labels, it would seldom trouble the charts.
In the early
80s, a knuckle-dragging bone-headed skinhead variant of Punk emerged. Oi! Oi!
was short on brain cells and long on violence and aggression. In some quarters (although this was often
denied) it was intrinsically linked with working-class right-wing
quasi-political factions such as The National Front and The British Movement.
One of its chief protagonists was the journalist Garry Bushell of Sounds
magazine. OI! Oi! is a chapter in
British music history that is, perhaps, best forgotten.
(Oi! Oi! was originally a rallying call by Ian
Dury to his fans, affectionately known - as were his band - as Blockheads. When the
term was hijacked by the new skinhead movement, Dury quietly dropped the
Oi! Oi! call-and-response from his live shows)
By the end
of 1979 the New Wave browser in our store was removed, replaced by a section
devoted to Heavy Metal.
In late
1979, we began receiving requests for several independently released hard-rock
singles. The Def Leppard E.P., The
Soundhouse Tapes by Iron Maiden and Death & Destiny by Mythra and were being played incessantly by Tommy Vance on his
Friday Radio 1 rock show. None of the
records were easy to locate, all being privately pressed and distributed.
In August
1977, Motörhead’s second album (the first remaining unreleased until late 1979)
was released on the Chiswick label, an imprint that was home to many Punk and
New Wave acts. The record was perhaps
the first album to be acclaimed by punks and rockers alike. In March 1979, the band’s Overkill album reached
the top 30. In October 1979, Judas
Priest achieved their fourth top 40 album within the space of three years. Records by Scorpions, Kiss and UFO were
shifting in large quantities. The market
for hard rock – now known as Heavy Metal – was becoming enormous.
At first it
was necessary to pack out our HM browser with the likes of Led Zeppelin, Rush,
Black Sabbath, Meatloaf and even Status Quo, due to the lack of available
contemporary Heavy Metal albums. This
situation would soon change, somewhat irrevocably. Almost 40 years later – love it or hate it -
Heavy Metal refuses to budge. It remains amongst the most popular musical genres.
Disco
The disco
boom of the mid-to-late 70s was alive and well.
29 of the top 100 UK singles in 1979 were squarely intended for the dance floor . All were issued in the 12”
disco format.
On the
strength of the popularity of disco music, many mainstream artists could not
resist attempting a dance floor crossover.
In April,
Wings’ Goodnight Tonight reached no. 5 in the UK charts. In August, Johnny Mathis’ Gone, Gone, Gone
peaked at no. 15. In November, Janis
Ian’s Fly Too High went to no. 44. All
of which were unashamedly 4-to-the-floor disco tracks. All were made available as extended non-album
12” disco mixes.
The 12”
single format had been introduced in the USA in the mid-1970s. The records had the ability to play louder
and longer and with more bass than conventional singles. The new format was initially a promotional
tool aimed at DJs, but by 1976 12” singles were on sale to the public on both
sides of the Atlantic – albeit in limited quantities.
In the UK,
record companies typically pressed 10,000 copies of a 12” single. Once these had sold out, punters wanting the
longer dance floor versions of hit songs could either pay extra for an American
copy or buy the corresponding LP. Many
12” single mixes were quite different to the LP versions – the LP mixes of
McFadden & Whitehead’s Ain’t No Stopping Us Now, Rolling Stones’ Miss You,
Funkadelic’s One Nation Under A Groove, Dan Hartman’s Instant Replay and War’s
Galaxy all sounded watered down when compared to their 12” versions.
An elitist
fury emerged amongst DJs and disco fans, all desperate to own the scarce 12”
versions of the latest dance floor must-haves.
Kool & The Gang’s Ladies Night, Michael Jackson’s Don’t Stop ‘til
You Get Enough (q.v.) and The Gibson Brothers’ Cuba all sold out within a few
days of release. The extended 12” copies
became instant DJ status singles.
By the end
of 1979, record companies recognised that the 12” format was a permanent chart
fixture and began making unlimited stocks available. The first such singles available to our shop
in unrestricted quantities were The Crusaders’ Street Life (no. 5) and Al
Hudson & The Soul Partners You Can Do It (no. 15) – both on the MCA
label.
Meanwhile,
releasing a disco album or single was no guarantee of success. In late 1978, Dolly Parton’s thumping Baby
I’m Burning failed to chart. Max
Bygraves’ Discolongamax album from late 1979 remains the province of audio
masochists.
The following 29 singles were amongst the 100 best-selling
singles of 1979. The popularity of these
records confirms the huge influence of disco and dance floor music on popular
music at the end of the 1970s
Dr Hook
|
When You're In Love With A Beautiful Woman
|
Gloria Gaynor
|
I Will Survive
|
Blondie
|
Heart Of Glass
|
The Village People
|
YMCA
|
The Bee Gees
|
Tragedy
|
Anita Ward
|
Ring My Bell
|
Earth Wind & Fire With The Emotions
|
Boogie Wonderland
|
Donna Summer & Barbra Streisand
|
No More Tears (Enough Is Enough)
|
Michael Jackson
|
Don't Stop 'Til You Get Enough
|
The Village People
|
In The Navy
|
Earth Wind & Fire
|
September
|
Chic
|
I Want Your Love
|
The Real Thing
|
Can You Feel The Force?
|
The Jacksons
|
Shake Your Body (Down To The Ground)
|
Edwin Starr
|
Contact
|
The Crusaders
|
Street Life
|
The Gibson Brothers
|
Que Sera Mi Vida
|
Leif Garrett
|
I Was Made For Dancin'
|
Amii Stewart
|
Knock On Wood
|
McFadden & Whitehead
|
Ain't No Stoppin' Us Now
|
Amii Stewart
|
Light My Fire / 137 Disco Heaven
|
Chic
|
Good Times
|
Patrick Hernandez
|
Born To Be Alive
|
The Sugarhill Gang
|
Rapper's Delight
|
Wings
|
Goodnight Tonight
|
Sister Sledge
|
He's The Greatest Dancer
|
Eruption
|
One Way Ticket
|
Gene Chandler
|
Get Down
|
The Gibson Brothers
|
Ooh What A Life
|
Uncle Sam & The Sugarhill Gang
Our shop was
located near to four major American military installations. UK residents were permitted access to the
Mildenhall, Lakenheath, Bentwaters and Woodbridge airbase night clubs provided
they were accompanied by American servicemen.
On the bases, drinks and cigarettes were cheap, the clubs stayed open
late. More than a few lost weekends were
spent by Suffolk local girls, once on base.
The DJs played many records that were not yet available in UK. We were frequently asked for brand new
American soul albums and 12” singles that had been heard in the American clubs,
but nowhere else.
In August
1979, we began receiving requests for a 12” single by The Sugarhill Gang. Rapper’s Delight was issued on the Sugar Hill
label (not to be confused with the country & bluegrass label of the same
name) and contained 15-minutes (plus an edited 6-minutes) of rhyming hep-talk
delivered over the backing track from Queen’s Another One Bites The Dust. After weeks of heavy import sales, the record
was issued in the UK in November 1979; it reached number 3 and spent 11 weeks
on the charts. Rapper’s Delight became a
worldwide success, charting in Mexico, Spain, France, Sweden, Canada, Germany
as well as in the UK and US. We sold as
many copies as we could get, before and after the UK release. Rapper’s Delight perhaps helped kill off the
disco boom. Dance music took a different
course.
Although not
the first rap/Hip-Hop record (that honour probably goes to King Tim III
[Personality Jock] by The Fatback Band), Rapper’s Delight began a revolution in
popular music. Whatever one’s opinion of
rap/Hip-Hop, The Sugarhill Gang helped create a genre whose rhyme, rhythm and
attitude became an inextricable component in much of contemporary music.
Coming Up
Pink Floyd’s
January 1977 album Animals contained three extended works, book-ended by two
short acoustic songs. The record was a
virulent attack on middle-class ethos and manners, enough for the Melody Maker
to suggest that the band might change their name to Punk Floyd. Two of the
characters contained in the song Pigs were clearly aimed at Roger Waters’ bête
noire, the self-appointed guardian of the nation’s morals, Mary
Whitehouse. The third main piece, Sheep,
was a metaphor for a violent and bloody overthrow of the establishment. Nonetheless, the seditious and radical tone
of the record went largely unnoticed or unheeded by the record-buying
public. Animals was welcomed as The New
Pink Floyd album, one that could sit comfortably alongside Dark Side Of The
Moon and Wish You Were Here.
Many fans
were unprepared for the band’s next LP.
The Wall was released on Monday, 3rd December 1979. Several first-day buyers of the album
returned the record on the Tuesday, one complaining that the record, “Had
nothing to do with The Floyd!” Only one song,
Comfortably Numb, contained the gentle harmonies and chord patterns that
represent the Pink Floyd sound. This
now-familiar and much-loved song featured at the end of the 3rd side, by which
time, listeners had endured Waters shouting and croaking about some of his many
schoolboy and teenage hang-ups. The
Wall was difficult listening for anyone expecting a re-tread of Dark Side or
Wish You Were Here. Meanwhile, one week
before the album’s release, the single Another Brick In The Wall (part 2) was
issued. The record received much airplay
and caught the public’s ear. The disco
beat, the anti-school lyric and the children’s mockney choir made the record a
surprise party favourite for years to come.
The record became UK Christmas #1 - quite an achievement for a group
that had not issued a single in the UK for eleven years. All reservations were forgotten; on the back
of the hit single the LP took off. One
wonders if anyone that initially returned the LP ever bought another copy.
Led Zeppelin
had last released an album in 1976. They
had not played the UK since May 1975.
Their 1977 North American tour was cut short by the death of Robert
Plant’s son; Karac. There was no
European tour scheduled that year. In
1979, the band played two dates in Copenhagen in July followed by two at
Knebworth House, Hertfordshire on the first and second Sundays in August. Their new album, In Through The Out Door was
issued on Monday September 3rd, 1979. The packaging was lavish – six
different variations on the cover art were available, each one hidden behind a
shrink-wrapped brown paper bag. The
inner sleeve was printed in magic ink; that which is found in some children’s
storybooks i.e. when painted with water the ink changed from black to colour. The record went straight to no. 1 but was not
altogether well-received. Jimmy Page had
taken much of a back-seat on the record, meanwhile John Paul Jones had diluted
the production with the liberal use of keyboard synthesisers. Once again, there was no single issued from
the album in the UK.
Bob Dylan
had recently converted to Christianity.
His last two LPs – Street Legal and Live At Budokan – had received mixed
reviews. Nonetheless, both albums were highly-anticipated prior to release, in
particular Live At Budokan, previously a Japanese-only release. Both records
sold exceptionally well, partly due to the publicity generated by a
well-attended and reportedly memorable concert given at Blackbushe Aerodrome,
Surrey in July 1978. The same month, CBS
issued a collectable 12” single version of Baby Stop Crying from the Street
Legal album. The record achieved Bob’s
best chart placing since Lay Lady Lay in 1969.
Slow Train Coming was released in late August 1979. It featured a softer, more polished sound
than on any previous Dylan album, but it lacked the fresh and appealing sound
of Desire or Blood On The Tracks.
Expectations were high, demand was strong, reviews were positive. But his religious awakening, realised for the
first time on Slow Train Coming, ushered in a decade of weak and forgettable
Bob Dylan albums.
Roxanne –
the first single from The Police’s debut album - flopped
when first released in April 1978. The
second single, Can’t Stand Losing You, reached no. 42 the following
August. The third, So Lonely, failed to
chart. In 1979, Roxanne and Can’t Stand
Losing You were reissued and reached the
top 20.
The LP
Outlandos d’Amour was released in November 1978, it did not chart until April
1979. By September of that year, The
Police had broken through. The new
single, Message In A Bottle, reached no. 1; demand for the new album Regatta de
Blanc was high. The LP was released in
October, spent 4 weeks at no. 1 and spent 74 consecutive weeks on the top
100.
Blondie’s
Parallel Lines LP had cemented the band’s success worldwide - the LP delivered
four hit singles in the UK, two of which (Heart of Glass and Sunday Girl) went
to no. 1. The follow up LP, Eat To The Beat, was issued in October 1979. The LP reached no. 1; three singles charted
including a number one. Blondie were
the textbook pop group. The band produced catchy and memorable singles and were
just a tiny bit risqué and dangerous.
Debbie Harry’s movie-star looks did not hurt the band’s success.
London
Calling, the third album by The Clash, was every bit as polished as the
previous LP Give ‘Em Enough Rope but unlike its predecessor, received excellent
reviews. Furthermore, the band had
negotiated with their record company that the LP – a double – would retail for
£5. Some considered that the band had
entered into a rivalry with Anarcho-Punk outfit Crass, who had recently issued
the double LP Stations of The Crass for £2.99. In December 1980, The Clash
responded by issuing their fourth LP, Sandinista (a triple!) for only
£5.99. Meanwhile, The Damned issued
their double LP The Black Album in October 1980 at £4.99.
Other albums
that were keenly awaited in the run-up to Christmas 1979 included: -
- Setting Sons - The Jam. The band’s fourth album followed top 20 placings for three of the band’s finest singles (Strange Town, When You’re Young and Eton Rifles). Setting Sons was possibly the band’s best album and confirmed The Jam as one of the UK’s favourite bands.
- The Fine Art of Surfacing - The Boomtown Rats. Bob Geldof and crew had recently enjoyed their second number one single with I Don’t Like Mondays. The second single from the album, Diamond Smiles was probably the better song, but did not fare as well.
- The Pleasure Principle - Gary Numan. Gary had shaken off the punky Tubeway Army tag. He had recently enjoyed a number one with the single Cars. Numan Mania was all around.
- Joe’s Garage Act 1 - Frank Zappa. Zappa fans appeared largely uncritical of the man’s records – they’d buy anything with his name on. They were somehow often aware of his new LP releases long before we were.
- Unleashed In The East - Judas Priest. Judas Priest’s first live album was packaged with an exclusive 3-track 7” single.
(The addition of a limited-edition
free single seldom failed to improve sales for a new album. Once the supply of freebies ran out, it often
became difficult to sell further copies of the LP in question. An exception to this rule was Michael
Jackson’s first solo album for the Epic label.
Off The Wall snuck out in August 1979 with the enticement of a free
picture disc single, the tracks of which had been lifted from the soundtrack to
the ill-fated movie The Wiz. We
received three copies of the LP as a new release. It didn’t sell. Don’t Stop ‘Til You Get Enough was issued
four weeks later as a single, it reached no. 3 in the charts. Off the Wall went to no. 3 in the LP charts. Four more singles were lifted from the
LP. Michael Jackson became a superstar.)
- The Pretenders (1st). Brass in Pocket, the band’s third single, was a recent number one. Due to the melodious nature of their singles (including Kid and Stop Your Sobbing) the LP enjoyed a wide appeal. Some copies were returned due to Chrissie Hynde’s sweary outburst at the end of the opening track.
- The Specials (1st), The Selecter’s Too Much Pressure, The Beat’s I Just Can’t Stop It and Madness’ One Step Beyond were all eagerly awaited albums, thanks to the post-punk frenzy that was Two-Tone.
- Little Feat – Down On The Farm. Band leader Lowell George died in late June, before the group’s latest LP had been completed. Despite having split up, the rest of the band finished the album LP; it was eventually issued in the UK on November 26th. Reviews and sales were cautious.
Almost Famous
In 1979 acts
such as Madonna, U2, Adam & The Ants, Prince and The Human League were
underground or unknown. They would all
find global success in the following decade.
In 78-79,
Adam & The Ants were the name to drop amongst young hipsters. In July 1978, the band recorded a session for
John Peel programme. In October, their
debut single, Young Parisiennes was released on the Decca label. The much-anticipated (and long-delayed)
singles Zerox & Car Trouble plus the LP Dirk Wears White Sox were released
in November 1979 for the independent Do It label. In February 1980, the band released the
career-defining Kings Of The Wild Frontier single on CBS. The record only reached #48 in the UK charts,
but Adam – complete with his manicured New Romantic pirate look – would soon
achieve celebrity. In August 1980, the
LP Kings Of The Wild Frontier and the single Dog Eat Dog both went top 10. Adam & The Ants became pop stars;
fashionistas moved on in search of their next temporary darlings.
By late ’79,
Prince had released two albums – only the second of which was issued in the
UK. A single from the latter album, I
Wanna Be Your Lover, reached #41 UK in January 1980. His label, Warner Bros., seemed unable to
promote his music. Even after the LP
1999 was issued in October 1982, Prince was something of a best-kept secret,
unknown to all but a few switched-on fans.
Matters were not helped by the awkwardly homo-erotic cover shots on his
third LP, Dirty Mind, released in October 1980.
U2 had
formed in 1976. The EP Three was only
issued in Ireland in September 1979, followed by the single Another Day on
February 1980. They remained largely
unknown in the UK until the release of I Will Follow in May 1980 (q.v.).
In The Dumper
In late 1979,
three long-anticipated albums were released, each one a follow up to three of
the biggest selling albums of the 1970s.
Fleetwood
Mac’s Rumours came out in February 1977, entered the album chart and stayed
there. Surprisingly, the record did not
produce a top-twenty UK hit for the band - the best-selling single from the
album (Dreams) only reached number 24.
Nonetheless, at the time of writing the record has spent almost 700
weeks on the UK charts. The follow-up album, Tusk, was released in October 1979. Wikipedia notes that it was the most
expensive album made by anybody to date, costing over £1m. Much of the music on
the record contrasted sharply with the style of Rumours and its eponymous
predecessor from 1975. The title track
reached the UK top ten singles, the album reached number one but ultimately
sold comparatively poorly and disappeared from the charts after 27 weeks. Tusk
spent a long time in the bargain bins.
Although the album has been positively re-evaluated in later years by
sections of the media, Tusk remains a record that contains too much filler –
much of it probably more suited to the bonus tracks of a deluxe CD reissue.
Stevie
Wonder’s Journey Through The Secret Life Of Plants was released over three
years following its predecessor, Songs In The Key Of Life. The album was delayed on several occasions –
following completion, Stevie reportedly re-recorded the entire double album to
the new digital format. Meanwhile, the
floral fragrance infused into the cover apparently attacked the vinyl of the
records, requiring early pressings to be scrapped. Three singles were released from the album,
none of which made the top 40. The LP
soon entered the bargain bins, forever to remain. Musically, The Secret Life Of Plants could
have been slimmed down to a single album – much of the record consists of
meandering new-age instrumental doodles.
Once again, the album has been positively re-evaluated; nonetheless the
experimentation and faux-grandeur of the project assured that nothing on the
record could compare with anything contained within Songs In The Key Of
Life. Journey Through The Secret Life Of
Plants effectively drew to an end Stevie Wonder’s extraordinary artistic phase,
that which had begun seven years earlier with the LP Music Of My Mind.
Hotel
California by the Eagles was issued in December 1976. The first three songs on the LP (Hotel
California, New Kid In Town and Life In The Fast Lane) were released as
singles. The LP went on to sell more
than 16m copies; stylistically it defined west coast American rock music of the
mid-to-late 70s. Tight, melodic
harmonies, a hint of country-rock, crack playing with memorable lyrics and
melodies made Hotel California an impressive package. The follow up LP, The Long Run was released
in September 1979. The three best songs
(I Can’t Tell You Why, Heartache Tonight and The Sad Café) were released on
45. None reached the top 40; the rest of
the LP was less than memorable. The
record sold in millions in the USA, but in the UK, sales stagnated following a brief run in the
top ten. Furthermore, the production (in contrast to the rich and layered sound of Hotel California) sounded
quite muffled, notably the sound of Don Henley’s drums.
The poor
sales of these three long-awaited albums perhaps signified a distinct change in
the marketplace. A three-year wait for a
new album risked a detour into the cut-out bins.
Two more
albums by successful bands registered feeble sales in late 1979. Between December 1976 and April 1979, the
German disco band Boney M had achieved nine top ten singles (including two no.
1s) and three top 40 albums. The last of
which, Nightflight To Venus, had reached number one and spent 65 weeks on the
charts. The group enjoyed worldwide
success, selling over 150 million records.
In September 1979, the band released their fourth album, Oceans of
Fantasy. The first single lifted from
the LP (Gotta Go Home) spent a miserable four weeks in the top 20; the second
(I’m Born Again) tanked at number 35. A
third (My Friend Jack) only reached number 53.
Despite reaching number one, the LP Oceans of Fantasy practically ended
the band’s career. We sold barely any
copies. It was awarded a platinum disc;
an achievement undermined by the fact that silver, gold and platinum discs are
awarded based on units delivered to the trade - and not on actual sales to
consumers. Oceans of Fantasy shipped in
to record stores in huge quantities – we received something in the region of
150 units. In our shop, a new-release
shipment of a chart-bound LP would rarely exceed 30 copies. Meanwhile, the greatest hits album The Magic
of Boney M reached number one the following year and spent 26 weeks on the
chart.
John Lydon
had emerged from the break-up of the Sex Pistols with a new band, Public Image
Ltd. Their self-titled debut single had
reached the top ten in November 1978; their first LP reached no. 22 in December
of that year. Reviews were guardedly
optimistic. The follow-up single, Death
Disco, was issued to bemused fans and media in June 1979. The record was extremely discordant and far
removed from what Lydon/Rotten had issued before. Even Radio 1 DJ John Peel (q.v.) suggested on
air that the record might be a joke.
No joke intended. Death Disco established the
musical(?) foundations of the band’s next album, Metal Box. By the time of the
record’s release, the hip & cool media had built up the band’s reputation
to the point where they were regarded as the new saviours of the music
scene.
The group’s
third single, Memories, was released in October – it did not make the top 40.
Following many delays, the group’s new album, Metal Box, was issued as a
limited edition on December 3rd, 1979.
It was packaged as three 45rpm 12” singles, contained within a round
silvered tin can. Musically, the record
was – to be polite – challenging in the extreme. Some considered the set to be an hour or so
of unlistenable fifth-form poetry that was shrieked and yelled over rudimentary
percussion and beginner-level bass playing.
The record received ecstatic reviews – but the hordes of expectant
customers failed to arrive.
Nearly all
the copies that we sold were returned as faulty. As the disc cutting engineer
(on Lydon's instructions) had turned the bass up to eleven, music centres and stereogram turntables all
waved the white flag as their tone-arms skipped across sides one to six. Replacement copies were returned,
replacements to those were returned. And
so on. There was no chance that any of
the three records in Metal Box would ever play on a cheap turntable.
We sold
around ten copies of the original Metal Box set. After three attempts at finding a copy that
would play, customers either accepted refunds or put up with owning an
unplayable album. This left us with
about 35 unsold copies. The record was
reduced from £12 to £5. Metal Box took
up a lot of space in our store; the remaining copies took a long time to
sell. There was no tape cassette
alternative to offer disappointed punters.
In February
1980; Virgin condensed the 3 x 12” singles onto one double album and retitled
the record as Second Edition. Nobody
wanted the new version.
Metal Box is
now lauded as one of the most influential post-punk albums. It has been included in a book, 1001 Albums
To Hear Before You Die . Others might
consider it to be an album to die, before you hear. Whatever anyone might tell you, Metal Box was
not a hit. We almost couldn’t give
it away.
Three years
later, in October 1982, Michael Jackson’s LP Thriller was issued. The first single lifted from the LP was the
lacklustre duet with Paul McCartney, The Girl Is Mine. We had received 50 copies of the LP. It did not sell – the record sat on the
shelves all over the Christmas period.
Meanwhile, in the United States two singles from the LP were issued
almost simultaneously. Videos for Beat
It and Billie Jean were also receiving heavy rotation on the fledgling
MTV. Thriller went on to sell 35m
copies. But for a short while, the LP
was an absolute stiff.
Censorship
In November
1979, Island Records met with controversy following the release of Broken
English, the new LP by Marianne Faithfull.
Two of the tracks – Working Class Hero and Why D'Ya Do It – were
peppered with effing and jeffing. Island’s distributor, EMI, refused to handle
the record, meanwhile high street chains such as W.H. Smith and Woolworth
declined to stock the album. The record
was independently distributed, meanwhile the initial furore and notoriety
surrounding the release was enough to send the LP to 57 in the charts.
Broken
English was the first record issued during my years in record stores whose
sales benefitted because of controversial content. Thankfully, the record was musically and
lyrically excellent; nearly 40 years later it remains a solid and consistent
album that has not aged.
For years,
the BBC declined to play certain records – starting in 1935 with Umpa, Umpa,
Stick It Up Your Jumper by The Two
Leslies. Many still believe that The BBC
somehow have the right to ban records.
Thankfully, they do not. Instead,
the Beeb and other radio/television stations simply refuse to play whatever
they consider to be unsuitable for public consumption. The creation of such a ban regularly creates
a spike in demand for the latest in forbidden fruit. Independent record stores would often sell
large quantities of titles that the BBC would not play, and major high street
retailers refused to stock – notably, God Save The Queen by the Sex Pistols,
Derek & Clive Live by Peter Cook & Dudley Moore and Je t'aime... Moi
Non-plus by Jane Birkin and Serge Gainsbourg.
In our
store, we were less fussy than most about what we kept in stock. Some records, however, did not make it as far
as the display racks…
One band
that was hated more than any other by our staff was the anarcho-punk
collective, Crass. The band’s infantile
destroy society (but please don’t touch my welfare payments) stance could invoke extreme
nausea amongst anybody who worked and/or payed tax. Such as, record shop staff - who also had to
put up with serving the countless unwashed glue-sniffing spikey-haired
perpetual-jobseekers who bought their records using state handouts.
The band had
the audacity to print a pay-no-more-than price on their LP sleeves. Not such a problem, until the label raised
the wholesale prices without altering the suggested retail price on the
sleeve. Eventually, we refused to
re-stock them.
2 Live
Crew’s appalling third album As Nasty As They Wanna Be was an undisguised
paedophilia and rape fantasy; there was no justification for the record to be
made, let alone sold. We wouldn’t even
sell the LP as a special customer order.
The lyrics
to the debut album by Cannibal Corpse could shame The Marquis de Sade. It wasn’t worth the bother of us stocking the
record. Neither would we sell LPs by
Carcass – the cover to their debut album featured pictures of dead and
mutilated children. And a track called Vomited
Anal Tract.
As the
boundaries of acceptability shrank ever further back, it became more difficult
to monitor the content of what was on sale.
Records with risqué or obscene content often seemed to appeal to
rebellious and impressionable students, teenagers and children. In 1979, there was no parental-advisory
sticker on LP sleeves to warn purchasers of potentially offensive content. We were tired of apologising to furious
parents whose children had bought records that contained one or two naughty
words. We simply refused to sell certain
records to youngsters if we thought the content was unsuitable. But there was no clear and defined line in
the shop with regards to what was tolerable – we had to best make our own
decisions on what we could sell, and to whom.
Characters
One
oft-quoted (however unreferenced) music industry statistic was that the average
record buyer would purchase six albums per year. Meanwhile, all retail staff (music or
otherwise) will know of regular customers that stand out from everyday punters. One of our oddballs we nicknamed Mr
Dirty. He bought Broken English by
Marianne Faithfull (q.v.) and anything else that he could find that, in his own
words, he couldn’t play to his children.
And he wore a dirty overcoat.
Several of
our customers suffered with barely concealed drink problems. One such character had a serious case of
delirium tremens – he also carried a wallet stuffed with fivers. He bought everything that he could find by
British sixties acts such as Ten Years After, (Peter Green’s) Fleetwood Mac,
Keef Hartley, Savoy Brown and John Mayall.
Once he’d paid for his pile of LPs, he would invariably always ask if we
knew of anywhere that he could get a drink – at the time, pubs shut in the
afternoon. Eventually he just stopped
calling in. We feared the worst. And never saw him again.
Another DTs
case (nicknamed, unsurprisingly, Shaky) took delight in ordering the most
obscure records, usually from the soundtracks, big band and easy-listening
genres. He possessed a hideous vertically-oriented Mitsubishi turntable, which was clearly incapable of playing records without
introducing some otherwise undetectable distortion or surface noise. He returned practically every one of his
purchases as faulty. Shaky typified the
kind of customer that took a strange delight in returning albums, as if their
equipment was so superior, it could reach the parts that ours couldn’t! It never occurred to them (even the Linn
Sondek owners, a breed unto themselves) that the problem lay with their audio
gear and not with the records.
Walter, the
local park groundskeeper, would buy large numbers of country albums. Over time, he developed a taste for drink –
he began selling his records back to us, as his habit took hold. Eventually he had nothing left to sell – he
lost his job and ended up living on the streets, eternally drunk. His descent into oblivion was swift;
meanwhile, we felt helpless each time he brought another pile of albums in to
trade for cash.
Wild-Eyed
Barry was a lorry driver from one of the more remote parts of rural
Suffolk. He also bought huge quantities
of country albums – his preference was for budget-priced and cut-out records from the United States. We considered that he bought more records
than he had time available to play them - even though many of the LPs that he purchased had playing times of
around ten minutes per side. He liked to
reserve LPs by the tonne, many of which he would never get around to
buying. These would eventually be
returned to the racks – Barry would then have a tantrum upon discovering that
his secret stash of vinyl was back on sale.
Nonetheless, he would return every Saturday and buy 30-50 LPs on each
occasion.
Our local
Shakin’ Stevens wannabe was, naturally, a member of the fan club. Convinced that his information was superior
to ours, he couldn’t wait to quiz (and correct) us regarding the release dates
of his idol’s latest single or album.
Like many such super-fans, he would buy anything that bore the name of
his hero. Badges, posters, stickers and T-shirts. He dressed and moved like Shaky. He danced in the shop. He was not our favourite customer.
Clifford was
a gentle giant, in his forties. Simple
of mind, he spoke slowly and deliberately.
He smiled constantly, he was usually immaculately dressed in a 3-piece
suit. And he knew everyone’s names – not
just from our shop, but seemingly everyone in town. His two favourite records were Billy Preston’s
That’s The Way God Planned It and Edison Lighthouse’s Love Grows Where My Rosemary
Goes. When Clifford bought a record,
he’d extract his wallet, peel off a pound note from an enormous roll of cash,
reserve the record and come back the next day to collect it.
Everyone in
town had a Clifford story.
Smellvis was
a cost-conscious Elvis fan. Following
The King’s demise in August 1977, RCA had reissued every practically Elvis
Presley album in their catalogue. Many
of these were soundtracks to his numerous beach-party movies - these sold at
£2.99. The standard of the songs on the LPs
was in keeping with the quality of the movies.
In addition, RCA’s budget label Camden had assembled several compilation
LPs of lesser-known (read: dreadful) Elvis tracks, many of which were drawn
from the post-Army, pre-’68 comeback phase of Presley’s career. These LPs (typically, Separate Ways, Easy
Come, Easy Go) sold for £1.25.
Smellvis avoided
buying anything from the full-price range.
He stuck to the budget-priced soundtracks and frightful compilations. He even bought a copy of The Elvis Presley
Séance album. Which – surprise – did not
actually feature the voice of his idol .
Smellvis was afforded his nickname because he was desperately lacking in
personal hygiene. His remarkable aroma
was compounded by his dressing in heavy-duty waterproof clothing, in all
weathers. Phew.
A one-time
regular customer had returned from a holiday in Miami, complete with Hawaiian
shirt and a newly-acquired mid-Atlantic accent.
He regaled us of a band he had heard in The States and how the band’s
albums were only available in The States and did we know about of this band that
he’d heard when he was in The States. He
assured us that we’d never be able to get their albums because they were only
available to special order from Rounder Records in The States and maybe not
even then.
He was
blabbing on about the rather fine R’n’B outfit, George Thorogood & The
Destroyers. Quelle surprise, we had both
of their LPs in stock. As would any
other half-decent British record store.
But not, it would seem, record stores in The States.
Fashion
As musical
trends changed, we witnessed many dedicated followers of fashion changing
votes (along with their overcoats). As we
traded in second-hand records, it was common for certain punters to regularly
dump their entire collections on us in an attempt to eliminate all traces of a
devoted but fleeting adherence to the previous fad. We knew them as turncoats.
One such
individual embraced punk, then heavy metal, new romanticism, rap and then house
music – all in the space of a few years.
He changed his style of clothing accordingly. He bore a striking resemblance to Rob
Halford, the lead singer of Judas Priest – one of his (ephemeral) favourite
bands.
Another
fashion-conscious regular made the transition from punk, to mod, then
ska/Two-Tone, to skinhead (Oi! Oi!) in the space of a few months. We would take bets on whichever tribe he
would be joining next.
It did not
occur to any of our turncoats that fashions may come and go, but good music
stays.
It was no
secret that post 1977, our trendy UK media increasingly despised mainstream rock
music . Furthermore, there were no
album-based popular music stations in the UK.
Radio 1 reduced its coverage of rock music to a 2-hour weekly rock show on Friday
evenings – a programme that was mostly concerned with heavy metal.
Gee,
thanks, BBC!
Back in 1979
the weekly music papers – i.e. NME, Sounds & Melody Maker - seemed more
concerned with fashion and student politics than music. Quality music monthly magazines did not
arrive in the UK until the launch of Q magazine in 1986.
Thanks to
the vacillating British Music press, and the cretinous Radio 1, rock music in
the UK suffered something of a Stalinist purge from 1977 onwards. The Stooges, MC5, The New York Dolls, The
Clash and Sex Pistols became the darlings of The New Musical Express, Melody
Maker and Sounds magazines. Radio One
eventually caught on by playlisting third-rate New Wave acts such as The Jags,
Altered Images, Bow Wow Wow, Toyah Wilcox and The Vapors.
Rock music,
progressive or otherwise, was side-lined.
Bands either: -
a) cut their hair, adorned skinny ties,
drainpipe jeans & narrow lapels and wrote shorter songs, or...
b) continued wearing patchouli oil and Afghan coats and disappeared.
The
highly-regarded Radio 1 DJ John Peel lived about 20 miles away from our
shop. He called in to our store but once
- in search of plastic LP sleeves. His
music policy was once varied and entertaining – artists as diverse as Nick
Drake, AC/DC, Gallagher & Lyle, Terry Reid and Joshua Rifkin had all recorded Peel Sessions. But
from 1978 onwards, the music policy on his programme underwent an absolute
volte-face. By the end of the 70s,
little or no pre-New Wave rock music was heard on the Peel show. He ridiculed artists that he once championed
– once referring to “the appalling” Yes on one of the rare occasions that he
read out the top 20 singles run-down. Of
course, there was no obligation or necessity for John Peel to continue playing
old favourites such as Stairway To Heaven or Wish You Were Here. But when acts such as Pink Floyd, David Bowie
or Led Zeppelin – or even his old mate Rod Stewart - released
new albums, he positively avoided playing them.
By the late
70s and throughout the 80s, the trendy UK media assumed the authority of a
kangaroo court, enforcing their stamp of approval on popular music. Many kids waited for permission from this
phoney judiciary before buying, or even admitting to liking, any one
record.
In 1977, the
first Clash album received widespread approval from the media; it sold in
huge quantities. The NME gave away a free
single in support of the album. 18
months later, the follow-up (Give ‘Em Enough Rope) hit with a critical backlash
because – gosh – the band had, perhaps, learned how to play. The LP managed a miserable four weeks in the
top 20, despite containing two hit singles and perhaps the group’s best song
(Stay Free) as well as their most powerful (Safe European Home). It became the band’s second worst-selling
album.
In 1979, the
debut album Cut by The Slits sold keenly – John Peel & The NME loved the
record. The (untitled) follow up
released a year later received zero praise from the literati; it went straight
into the cheap dumper. We (really) couldn’t give
it away. Both records were
indistinguishable for the simple reason that they were (and remain) absolutely
unlistenable.
Again in
1979, the debut album by The Pop Group (Y) sold well on the back of rave
reviews from the weekly music press and some in-depth interviews with the
band. The follow-up album from 1980, We
Are Time, was ignored. Both records
contained around 40 minutes of tuneless rubbish. However, the first title had received the
media’s stamp of approval, the second had not.
The kids did as they were told.
Orwellian
revisionism continued over on the Peel show.
In late 1979: -
“And at this
stage I would have played a 12" 45 by another Dublin band, U2, and I was
given two copies of this earlier in the week, but if anybody from U2 is
listening, both copies were far too warped for me to ever possibly play on the
radio. So I'd like another copy of it certainly, because what little bit of it
I could hear sounded rather good. Some good bands over there actually, because
I saw Zebra and U2 and a few other bands last year sometime I think, and I'm
surprised it's taken them this long to get onto record”
But in May
1990…
"I've
never been terrifically keen on the work of U2, although somebody wrote and
told me the other day that when they first started out I used to play their
records all the time. I'm sure I didn't; I mean, I never liked them..."
All the
while, punters scoured their record collections for potentially offending (and
credibility-damaging) old-wave albums.
In our shop, piles of records were traded in against the latest efforts
by whatever hair-gelled no-hopers were featured on the front covers of that
week’s inky papers.
One might
wager that a clear majority of LPs chopped in during the late 70s purge are
today, of more musical and fiscal worth than the would-be hip/cool records that
they were substituted for. One might stake
further that many of the former have, by now, been purchased a second or third
time (as expensive originals, deluxe CDs or premium 180g vinyl) by the same
people that once offloaded them.
And
those stacks of voguish albums fleetingly approved by the NME, Melody Maker,
Sounds and John Peel?
Umm, no
thanks.
In other
words: -
King Crimson & ELP – 5
Wire & Gang of Four – Nil.
In later
years, John Peel’s influence on record sales dipped considerably. Except for The Fall and The Wedding Present,
it is perhaps difficult to name many acts that benefitted to any degree
from being featured on his show. The
more dependable Radio 1 evening slot (typically between 8 and 10) presented
indie and “new” rock music in a far more accessible and less blinkered fashion;
it was worth the time of any singles buyer – or music fan in search of
something fresh and new - to tune in.
However, if any singles rep or telesales bod were to suggest (usually in
desperation) that, “…and John Peel loves it…” we knew right away that whatever they
were trying to sell us was a worthless piece of junk. It was not even worth our while accepting
free copies.
In all
fairness to John Peel, his musical selection mellowed in his later years – in
1997 he listed albums by Captain Beefheart, Neil Young, Jimi Hendrix, Richard
and Linda Thompson and the Rolling Stones amongst his favourites.
Nonetheless, John Peel regularly abandoned artists that he had previously supported, once they emerged from the counter-culture. For example, The Stranglers, Gary Numan, Joe Jackson, Scritti Politti, The Jam, Adam & The Ants…
Nonetheless, John Peel regularly abandoned artists that he had previously supported, once they emerged from the counter-culture. For example, The Stranglers, Gary Numan, Joe Jackson, Scritti Politti, The Jam, Adam & The Ants…
A stance
that some might consider questionable, to say the least.
Still Around (and Around)
In 1979,
many highly-collectable titles were still freely available. Record collectors in 2018 might consider that
such hindsight is opportunistic. Even
so…
In early
1981, we received a mailshot from Polygram records informing that their
catalogue of LPs by Kraftwerk (Kraftwerk, Ralf & Florian, Autobahn and the
compilation Exceller 8) were to be deleted, never to be reissued . This edict was on the instructions of the
band, who were perhaps less than happy about the content of their early records
and preferred that they were no longer available. Except for Autobahn, the LPs certainly did
not sit comfortably with the style and content of the band’s Capitol albums
such as Radioactivity and The Man Machine.
It is worth
noting that in the late 70s and early 80s, Kraftwerk did not possess the cachet
or credibility that they later earned from their robotic imagery and sound as well
as their increasingly infrequent performances and album releases. Few retailers believed that the Vertigo
records would be permanently withdrawn.
Instead of stocking up quantities of these soon-to-be collectors’ items,
dealers waited for a mid-price campaign reissue of the four albums. Which never occurred.
In 1985, the
album Autobahn was reissued on Capitol records, with the original European
sleeve. Kraftwerk, Kraftwerk 2 and Ralf
& Florian reappeared as bootleg CDs in 1994, the audio ripped from original
vinyl copies on the Philips label. But
as of January 2018, there are no official issues of the first three Kraftwerk
albums. Band leader Ralf Hutter has
suggested in that the records might be reissued , but at the rate that
Kraftwerk operate, one might be in for a very long wait.
As of
September 1979, EMI retained all The Beatles’ albums in their catalogue, in all
formats. Thus, the original mono LP
releases were still available, as were the 3 ½ IPS reel-to-reel tapes. In store, these were not stock items, however
we occasionally received customer orders for the mono vinyl (but alas, not the
tapes!)
In 1982, the
mono albums were re-promoted by EMI, as collectors and completists became more
aware of the differences between the stereo and mono LPs. They remained on catalogue until 1987.
Despite the
commercial failure of the 4-channel system, EMI maintained existing stocks of
their SQ Quadraphonic LPs. Again, these
were not regular stock items, but the quad versions of albums such as Pink
Floyd’s Dark Side Of The Moon, Wish You Were Here, Atom Heart Mother, Barclay
James Harvest’s Once Again, John Lennon’s Imagine and Deep Purple’s Machine
Head were available freely to order . As
EMI sold out of the albums, they were deleted from the catalogues. One of the first to disappear was Lennon’s
Imagine quad vinyl; this sold out in the weeks following his death in December
1980.
Records by
folk singer Nic Jones were rather popular.
His albums From The Devil To A Stranger and The Noah’s Ark Trap were
perhaps the best-selling titles in our folk section. In 2018, nearly all his original albums are
out-of-print and sell for inflated sums.
Due to severe contractual wrangles, and a somewhat slippery record label boss, this situation is unlikely to change.
Many other
records thought to be long unavailable were kept as stock items.
- Pete Townsend - Who Came First. In 79, Pete’s first solo album still came in a gatefold sleeve, with an art print included.
- Humble Pie - Performance Rockin’ The Fillmore. This landmark 1971 double-live set should have been a staple item in any self-respecting independent record shop. Few of our competitors seemed aware that it was still in print.
- Roger Waters & Ron Geesin - Music From The Body. A difficult listen for many, but for Pink Floyd completists this LP was/is considered near-essential. It contains an early version of Breathe, a song heavily re-worked for Dark Side Of The Moon
- Midnight Cowboy – Original Soundtrack. We heard tell of customers being turned away by the Oxford Street megastores, having been told that this popular (but seemingly elusive!) soundtrack album was out-of-print. We sold at least one copy per week, brand new from EMI UK’s distribution centre. Take that, HMV!
- Mick Jagger, Charlie Watts, Bill Wyman et al - Jamming With Edward! In 1979, the Rolling Stones catalogue was still being distributed by WEA. This budget-priced throwaway album from 1972 was still available, as was 1971’s Brian Jones Plays With The Pipes Of Pan At Joujouka. In 1980 EMI acquired the rights to the Rolling Stones label. Jamming & Joujouka plus the compilation Time Waits For No-One were deleted. The Brian Jones album was subsequently reissued in Japan.
- The Plastic Ono Band - Live Peace In Toronto 1969. This fine live album stayed on catalogue, even though the free calendar given away with original copies had long since been discontinued. Yoko’s screaming throughout side 2 was good for clearing the shop of customers at the end of the day.
- Bo Hansson - Lord Of The Rings. A renowned progressive keyboard outing, mistakenly assumed by many to be deleted, rare and collectable. Not so.
- Tonto’s Expanding Headband - Zero Time. An early Moog workout by Robert Margouleff And Malcolm Cecil, the electronic wizards employed by Stevie Wonder on his early 1970s LPs. The LP Zero Time was beloved of hippies and prog fans, as well as my drama teacher at school.
- Slade - Play It Loud. The band’s second (but long-forgotten) album had remained in the Polydor catalogue since its release in 1970. It was a steady catalogue seller in our store alongside the magnificent Slade Alive! LP.
- John Entwistle - Smash Your Head Against A Wall & Whistle Rhymes. The Ox’s first two solo albums were still available in 1979, although albums 3 & 4, Rigor Mortis Sets In and Mad Dog, were not.
- Gong – Camembert Electrique. This 1971 freak-out was originally issued only in France. Richard Branson’s Virgin label released the LP at a budget price in 1974. Despite being reissued by Charly records in 1976, the original Virgin issue remained in the catalogue.
It is worth
noting that the above titles were not offered as imports or deletions; rather
they were examples of records that had remained on catalogue in the UK partly
due to the resolve and resourcefulness of back-street record stores.
Why Pay More?
Between the
years 1975 and 1979, LPs and cassettes had shot up in price, from typically £3
to £5 and over.
In 1979,
record companies had not recognised the sales potential of reducing and
re-promoting the older albums in their catalogues. Older albums by artists such as The Moody
Blues, The Rolling Stones, Jethro Tull, Neil Young et al were all retailing at
full price, i.e. circa £5. Thus, for a
back-catalogue (but not exactly best-selling) album such as Veedon Fleece by
Van Morrison, Another Side Of Bob Dylan or Time Honoured Ghosts by Barclay
James Harvest, one would expect to pay full price. Consequently, many such older albums remained
on the shelves without selling. Some
labels were merciless in deleting slow moving titles from their catalogues.
Many record
shops took the difficult decision of pruning their selections rather than
hanging on to hundreds of slow-selling albums.
Our chain had built a reputation on carrying an extensive catalogue of
records, we kept as many albums as we could no matter how seldom they would sell. It brought people into our stores.
In
retailing, it is accepted that 80% of sales come from (the best-selling) 20% of
one’s stock. Stores that took the
decision to jettison their slow-selling 80% often met with closure . Our customers loved to browse through
the other 80%. To a record buyer, it’s
reassuring to know that those old and obscure titles are still there – even if
one has no intention of buying them any time soon. Consider that a supermarket might carry 20
different brands of tomato ketchup - but only two or three will sell in any
numbers. Good record stores recognise
this aspect of retailing.
In the
February 1981, CBS launched its Nice Price campaign. EMI and Polygram followed in 1982. Subsequently, WEA, BMG Island, Charisma,
A&M and Virgin all raided their catalogues for LPs and tapes to reduce to
£2.99.
I Can Get It For You Wholesale
Unlike in
many other countries, the UK record industry had a somewhat fragmented
distribution network. For example, all
major record companies – EMI, CBS, WEA, Polygram, Pye and RCA all distributed
their records independently of each other.
In other territories, major labels funnelled their stocks into one-stop
(regional) distribution companies such as (in the US) URP and ADA.
The UK’s
fragmented supply chain not only kept prices high but made locating certain
records difficult and, in some cases, impossible. UK sales of music on independent labels was growing, many wholesalers such as Lugdons, Selecta, Rough Trade, Pinnacle
and Spartan distributed hundreds of different labels. Some records were pressed in small
quantities, many labels (i.e. Beggar’s Banquet) were available from more than
one wholesaler. Labels sprung up and
disappeared overnight. Many independent
records didn’t have a distributor, rather that they were sold directly to shops
by a man-with-a-van.
Or pushbike.
Pre-internet,
it required an encyclopaedic knowledge, a photographic memory and a detective’s
instinct to track down some records. The
satisfaction of locating that elusive album or single was only matched by the
frustration of not being able to fulfil a customer order, no matter how many
catalogues and lists were consulted, nor how many phone calls were made.
Imported
records (q.v.) were sourced through several firms. Stage 1, Greyhound, WRD and Pacific all
scoured the Japanese, American and European markets to locate titles that were
not available in the UK. Many titles,
such as the US 10” compilation Black Market Clash, were available from some or
all our importers.
In addition,
EMI and Polygram imported titles released on their own labels in Europe and The
United States.
Here And There
The music in
our store was racked out into several genres.
Confusingly for some, artists were filed under first names. Furthermore, many records were filed by
association - Peter Hammill's solo LPs were filed under Van Der Graaf Generator,
John Entwistle’s LPs with The Who. The soundtrack album Mahoney’s Last
Stand by Ron Wood and Ronnie Lane would be filed under Rod Stewart & The Faces.
Got that?
UK Groups & Solos
As opposed to US Groups
& Solos. Canadian bands such as Rush
and Bachman Turner Overdrive were filed under US. European bands such as Focus and PFM were
filed under UK. Jimi Hendrix was filed
under UK (don’t ask…) Unsurprisingly,
the US and UK Groups & Solos browsers were the biggest and most popular
sections.
Punk/New Wave
Soon to be replaced by Heavy Metal
(q.v.). There were never quite enough
punk/New Wave albums to fill out a whole section, so we had little option but
to include artists such as Elvis Costello & The Attractions, Nick Lowe,
Graham Parker & The Rumour and even Dave Edmunds.
Father, forgive me.
Country & Western
Our most popular
specialist music section. We received
huge shipments of budget country albums from the USA each fortnight. Many of these had notoriously short playing
times (i.e. those on the Gusto and Starday labels). Typically, such LPs featured 5 songs per
side, each one little over 2 minutes.
LPs by Red Sovine, Grandpa Jones and Boxcar Willie were exceptionally
popular.
The more
discerning country fans paid premium prices for American imports by artists
such as Townes Van Zandt, Jimmy Buffet and Terry Allen. In 1979, artists signed to Columbia and RCA
in the US were churning out albums – Bobby Bare, Moe Bandy, Alabama, Janie
Fricke and Joe Stampley all released two or even three albums a year. Records by such artists arrived first as
American imports (£6 each), a month or so later as UK releases (£5), and in a
year to six months, we’d receive quantities of the same titles as remaindered,
or cut-out, American stock. These sold
at between £2 and £3 a copy. Meanwhile,
Don Williams’ records for the ABC label had been carved up into several highly successful
TV advertised compilation albums on the K-Tel label.
Soul & Disco
European disco albums such as
those by Voyage, Giorgio Moroder and Cerrone were filed alongside black
American funk and soul acts i.e. Earth, Wind & Fire, Chic and Kool & The
Gang. Jazz musicians and singers that
had crossed over to soul, such as Roy Ayers, George Duke and Al Jarreau were
also filed under Soul & Disco. Many
records in this section had a brief shelf-life, as a lot of hot new soul/disco
albums were often 90% filler/10% killer.
Furthermore, many records sold more copies as American imports – being
first to own the latest hot album or 12” was especially important amongst the
somewhat elitist disco crowd. Some
collectors would not consider buying UK copies.
Easy Listening
Much of the easy listening
section was devoted to LPs by M.O.R. bandleader James Last . Barry Manilow’s catalogue was selling
amazingly well following a successful TV blitz on his Manilow Magic
compilation. The ghastly Classic Rock
albums by The London Symphony Orchestra were also filed in Easy Listening.
There were comparatively
few albums by Frank Sinatra, Nat Cole or Julie London left in print - the big
nostalgia reissue programmes of Capitol, CBS and RCA would not happen until the
mid-80s. Many albums in the easy section were tawdry budget label compilations,
or TV Advertised records (q.v.), few of which did the artists any justice. For example, Sinatra’s magnificent Songs For
Swinging Lovers album was only available in a terrible fake stereo reissue.
Folk
Records on independent labels such as Topic,
Shanachie, Celtic, Fellside and Transatlantic sold rather well. The Houghton Weavers, June Tabor, The
Chieftains and Nic Jones (q.v.) were
remarkably popular. All Sandy Denny
& Fairport Convention’s Island catalogues were still in print. In 1979, John Martyn, Nick Drake and even
Joni Mitchell were kept in the folk section.
Old habits…
Blues/R&B
Our blues section mainly
consisted of records major American blues players such as BB King, Muddy Waters
and John Lee Hooker. Charly Records and the Swedish Sonet label (re)issued many
American albums, typically by Albert King, George Thorogood (q.v.), Roy
Buchanan and Champion Jack Dupree. Cajun
and Zydeco music by artists such as by BeauSoleil, Nathan Abshire and Doug
Kershaw were filed at the back of our blues section.
Soundtracks
We were often complimented on our selection
of film soundtracks and stage shows. We
didn’t employ anyone with an exhaustive knowledge of stage and screen, rather we
just stocked virtually every new release and whatever remained on catalogue. Classic musicals such as South Pacific, The
Sound Of Music, Carousel, High Society, Seven Brides For Seven Brothers and
Oklahoma! were regular stock items. We
even had the soundtrack album to the adult movie, Deep Throat. The recently released double album to
Apocalypse Now was a best seller .
At the time,
it was regular practice for movies to be screened in the USA months or years
before the UK release date. Nonetheless,
the soundtrack albums would be issued almost concurrently with the US screen date. Thus, the double LP to Star Wars (the film
later retitled Star Wars: Episode IV – A New Hope) was issued in the UK in May
1977. The film was not shown in the UK
until late January 1978. Certain
soundtrack albums sold even though the films had tanked – Urban Cowboy, John
Travolta’s follow up to Grease, failed at the box office. But the double LP soundtrack, containing
music by Jimmy Buffett, Eagles and Boz Scaggs, sold surprisingly well.
Comedy
In 1979 home video was still in its
infancy. The best way to re-experience
comedy performances was via album or cassette tape. Our comedy section did great business,
especially from records by Tony Hancock, Jasper Carrot, Billy Connolly, Jimmy
Jones, Blaster Bates, Gerard Hoffnung, Tom Lehrer, Derek & Clive, Fawlty Towers,
The Goons and, of course, Monty Python’s Flying Circus. Certain titles (especially those by comedian Jimmy Jones) might nowadays constitute hate crime, in the eyes of the local plod.
Reggae
Thanks in part to extensive marketing by
Virgin and Island records, as well as support from radio and the music press,
reggae was becoming increasingly popular in the UK.
Aside from
the many albums by Bob Marley & The Wailers, our reggae section was replete
with LPs by Linton Kwesi Johnson, Steel Pulse, Culture, Peter Tosh, The Mighty
Diamonds, I-Roy, Culture and U-Roy. Many
reggae albums, however, were produced for the UK and American market. It was suspected that Island Records supremo
Chris Blackwell deliberately tweaked the sound of The Wailers’ albums for the
UK market. Furthermore, Peter Tosh’s Legalise
It album was remixed from the original Jamaican version to suit European
tastes.
Meanwhile,
original Jamaican albums were much harder to source (at least, in deepest Suffolk) and were considerably more
expensive.
Jazz
We had a great jazz section for such a small
record store in the heart of East Anglia.
Polygram/Verve were reissuing plenty of LPs from the 50s and 60s, i.e.
by Lester Young, Count Basie, Dizzy Gillespie, Billie Holiday and Roy
Eldridge. Polydor had the rights to the
Pablo catalogue, Jasmine were reissuing albums from the Impulse! label. There were surprisingly few Miles Davis
albums in the CBS catalogue – only favourites such as Kind Of Blue, In A Silent
Way, Live Evil, Bitches Brew, Greatest Hits and Sketches Of Spain were
available in the UK. CBS were otherwise
marketing crossover/fusion Jazz by the likes of Herbie Hancock, Bob James and
Weather Report, whilst WEA were delivering tremendous fusion albums by Lee
Ritenour and Larry Carlton. RCA had the
rights to the Milestone & Galaxy catalogues, they imported small quantities
of recent LPs by Art Pepper, Hank Crawford & Sonny Rollins. Blue Note were issuing previously unreleased
sessions, such as Dexter Gordon’s Clubhouse, Grant Green’s Solid and Bobby
Hutcherson’s Spiral.
It was a good time
to be getting into Jazz.
Second Hand
Thousands of second hand LPs were
on sale between 25p to about £2.49. Any
rare and collectible titles bought in were sent over to our collector’s store
in Cambridge. We took in lots of
second-hand albums from American servicemen from the local US military
bases. Stacks of original pressings of
American rock albums (Dylan, Zappa, Grateful Dead) came into the store, many
were sold at, by today’s standards, ridiculously affordable prices.
Special Offers
These were split into two categories – clearance items, reduced for quick sale
and stock bought in as special purchases.
Many current
and chart albums were available from Portugal and Greece at bargain prices, although in all honesty, these
were not of first-class quality. But
German records bought in via the EEC and from Canada were pressed to an
exceptional standard and were considerably cheaper. There was a price war on the high-street,
many independent dealers could only keep up with the major chains by buying-in
what became known as parallel imports.
The British Phonographic Industry (BPI) managed to stem the supply of records
from outside The EEC but were powerless to stop albums from Germany, Belgium,
Spain & France.
We didn’t
have a classical section until 1983.
There were a couple of very good classical record stores in town. Occasionally we’d get a customer order for a
classical LP or tape. As often as not, Vivaldi’s
Four Seasons.
Music In Deep
The success
of any back-street store largely depended on customer service, price and
selection. We had to be cheaper than the
high street chains, we had to know our stock in considerable detail. When a customer enquired after a piece of
music where no other store could help, we did our utmost to find what they were
after. Pre-internet, we relied on
personal knowledge, shelves of catalogues and (in later years) an industry encyclopaedia known
as The Music Master.
We took
delight in sourcing titles that were not available from the regular channels
i.e. the UK major record companies and the primary independent distributors,
such as Pinnacle, Spartan and Rough Trade.
We sold plenty of imported records, which fell into one of three
categories: -
a) Titles not yet released in the UK –
usually American country, soul, disco & rock albums. Many fans and collectors were prepared to pay
more to get their albums first by purchasing imported copies. Besides, certain collectors preferred to own
American or Japanese records over UK pressings.
b) Records no longer available in the
UK. Albums could be deleted because of
poor sales or for contractual or copyright reasons.
We dealt with many resourceful importers who specialised in locating
such titles, mainly from Europe, Australia, Japan and The United States. Albums such as Frank Zappa’s 200 Motels, The
Who’s My Generation, Anthony Phillips’ The Geese & The Ghost & George
Harrison’s Wonderwall Music were all regular sellers.
c) Records not intended for release in
the UK – such as, AC/DC’s TNT, Black Market Clash, Weather Report’s Live in
Tokyo and The Rolling Stones’ Flowers.
In 1982, a 6-track mini-LP by Smile entitled Gettin’ Smile was issued in
Japan only. Despite its high price (c.
£18) the record sold incredibly well. It
contained just six tracks recorded in 1969 by Roger Taylor, Tim Staffell and
Brian May before the forming of the band, Queen.
As of 2018, the record has never been issued outside of Japan.
It was
particularly satisfying to be able to offer, and sell, music from an in-depth
selection, the range of which could sometimes match and occasionally surpass
what the giant Oxford Street megastores had in stock.
The Outro
In the
1980s, record shops became entertainment stores. We witnessed the introduction and growth of
home video, cassettes, compact disc albums and CD singles and the slow
disappearance of the LP record.
Nowadays,
many surviving stores give more retail footage to DVD, Blu-Ray and gaming than
music – although in the UK, HMV are now giving more room to vinyl, and moving
the LP browsers towards the front of their stores. Hooray!
I spent
eleven years behind the counter. Today,
I long for the friendship of the staff, the sharing of the knowledge and the
absolute love of music. I miss the
regular punters, the mums and dads, the schoolkids. The punks, bikers and mods. Even the stuffy and awkward customers for
whom nothing was good enough. The thrill
of discovering new music. Finding rare,
out-of-print and imported titles and selling them to an eager public.
I miss the smell of vinyl in the morning
.
Like most
independent record stores in the UK, the shop is long gone. But give me a time machine and I would go
back in a heartbeat. It was only then
that I truly looked forward to getting out of bed and going to work.
Going Back
In 2018, in
a small seaside town that lies a few miles from my village, there is an appealing little
charity shop that specialises in records, CDs, DVDs, music books, musical
instruments, hi-fi equipment and cameras.
The manager is clued-up; everything is reasonably priced and there’s
always something interesting playing on the turntable. He does a great job; the shop is always busy,
he has time to help and to talk with his customers
I’ve had a
peek in their store room, which is crammed full of donations that are not yet
on sale. Some of the CDs and LPs stacked
on shelves, waiting to be priced, appear truly mouth-watering.
I should
jump off my crazy train of a career, downsize my expectations and ask if he
needs a hand.
I want to go
back.
Dedication
The above
article is dedicated to my ex-colleague, Tom Smith. Around 2001, long after we’d both finished
working in record stores, we spoke often about writing something together regarding our
experiences in the music business.
Eventually, many chapters were written but for one reason or another,
enthusiasm for the project waned and the writing petered out. Everything that had been written was saved
onto 3.5” floppy discs, over time these were mislaid or destroyed. Nevertheless, I like to think that much of
the above is close enough to the original text.
Tom fell
victim to cancer in March 2010. He was
the most likeable, approachable, entertaining, informed and amusing guy that I
will ever know. I only wish that he
could have read this finished work; I wish that he could have contributed more
of his recollections and anecdotes. I
will just have to imagine his delight upon finally reading the finished piece, and
his mile-wide grin.
Mike
Hamilton
January 2018