|
1. Public Enemy “Yo! Bum Rush The Show” (Def Jam)
Earliest memories from my parents’ collection are Little Richard,
Irish folk songs and the Bonzo Dog Band, but this was the second
cassette I bought using my own money. If truth be told, the first
was “Control” by Janet Jackson, who I had a post-Princess
Leia crush on, but Public Enemy had the more severe impact on this
ten-year old mind. The density of both the lyrics and production
was intense. I already had Run DMC tapes, but this hardcore, intelligent,
funny, alien-sounding record totally blew me away.
2. The John Peel Show (Radio 1) 1986-present
Ok, so it’s a radio show, but it’s impossible to narrow
down this genius’ influence to one selection. For a few formative
years, I was affected by the satanic sway of the NME, and so ended
up squandering a good portion of paper-round wages on shit indie.
Never mind the World Trade Centre, someone needs to fly a plane
into Kings Reach Tower and stop the madness. As for many growing
up in the provinces, John Peel was my saviour, because although
he championed plenty of indie/grunge/death metal, his show introduced
me to everything from KMD’s first album to things like “Bytes”
by Black Dog. I still love the program, probably as much for Peel’s
bumbling style as for the breadth of music on offer, and am forever
indebted to him.
3. Diamond D & the Psychotic Neurotics “Stunts, Blunts
& Hip-Hop” (Chemistry)
I’ve bought hip-hop pretty consistently throughout my life
despite going through all kinds of exploratory phases, from rock
albums to dance 12”s to an ill-advised “get every crap
record at the car boot to see if there’s a break” period.
I could write up “Critical Beatdown”, Tribe, “One
For All”, “Runaway Slaves”, “Sex & Violence”,
“Illmatic”, various Wu Tang records, “Spaz The
World” or dozens of others here. But “Stunts, Blunts
& Hip-Hop” represents rap at its absolute best for me.
It’s rare, although getting hold of any underground rap record
could be hard in Norwich, where demand sometimes outstripped supply
many-fold. Plus I was usually far too broke to pay import prices
for a Main Source 12”. But fights broke out over the UK bootlegs
of Diamond’s album. Remember them, with the whole thing on
one side and “Breaking Atoms” on the other? I had to
settle for the cassette (only one person even had a proper double-vinyl
version), and finally got an original copy a few years ago. Rose-tinted
“golden era” sentimentalism has catalysed reams of soulless,
derivative rap-by-numbers in the last decade, and though I usually
head for the bar when “The Choice Is Yours”, “Scenario”,
“PTA” or “DWYCK” get rinsed out again, I’ll
still be singing along to “Step To Me”, “Sally”
and “Feel The Vibe”. I even like its only weak point,
the often-dissed swing brick “Confused”!
4. Leroy Brown “Gone Gone” (Jah Lion)
The longest-surviving record in my small, regularly pruned reggae
section. I acquired an ear for roots, a.k.a. minor-key reggae with
conscious lyrics, during the course of many evenings spent in my
friend and occasional record hunting partner Si-Man’s killer-laden
Hornsey attic. Although this one actually has a distraught lovers’
lyric, it’s still a beautifully haunting, melancholic song,
which is what I love about the feeling of any deep music in minor
key. Lasting thanks to Norwich hip-hop DJ Jock La Rock, whose inspirational
shelves I once acquired this from.
5. Ultimate Breaks & Beats Vols. 1-25
Where would many of us be without this cornerstone series? The loud
pressings, the crap covers, the extended drums, and of course the
music. I first heard Dyke & the Blazers, Baby Huey, the Dynamic
Corvettes and all the rest here. It was a massive buzz to find out
where so many hip-hop beats came from, and I still get the doubles
out fairly often. If I had to pick one volume, it’d be number
four (the red one, with “Looking Out My Window” and
“Funky Music Is The Thing”).
6. Brain Killers / Family Of Intelligence “Borderline”
EP (3rd Party/Kemet)
Now, this is the stuff. We had tape packs of the hardcore raves
from around ’92 onwards, where I heard classics like “Bombscare”
and “The Box Opened”, but very early in ’94 I
went to Dance Paradise in Great Yarmouth. Talk about an epiphany
- I sold my guitar, amp and remaining rock records the following
Monday to invest heavily in Jungle. Though the scene went to seed
when the music started to lose the plot and the original “massive”
was largely replaced by students, trendies and techno transplants,
I’ve always had a big soft spot for the early stuff. Kemet
affiliates started out releasing hardcore on Ibiza, before going
on to form their own label and unleash monsters like A.W.O.L. anthem
“Breakage #4” (a.k.a. “The Future”). This
particular 12” contains not only ragga-jungle classic “Champion
of Champions”, but the equally massive “Screwface”
– a twisted, brutal rave classic with early “staircase”
drums, and ghostly chants that’ll send chills down the spine
of anyone who remembers it getting hammered at the time. Both tracks
got remixed to good effect on later 12”s, but this EP is the
definitive release by Mark X, since it combines a pair of all-time
smashers, two other very respectable tracks and both the 3rd Party
and Kemet label designs.
7. Larry Williams and the Young
Disciples “Crumbs From The Table” (Gateway)
The first reasonably rare 45 I ever bought, which I still play regularly
now. The £10 reluctantly paid for it while bargain hunting
in Tottenham one summer was something of a turning point, as up
until then I was dead set against spending more than a few quid
for a second-hand record. Of course, I’m still kicking myself
now for having had such stringent principles. In any case, the tough
band, heartfelt vocals and overall raw ghetto feel of this 45 were
contributing factors, along with hearing Keb play, in starting my
funk habit.
8. Rhythm Machine “Freakish Love” / Watcha Gonna Do”
(Rodan)
I first heard “Freakish Love” on a comp around 1995,
and the emotional intensity really knocked me for six. I played
it off a bootleg for a few years, and although I got a copy on Rodan
eventually, it still gives me the shivers regardless of format,
from the intro guitar to the devastating horn barrage and vocals.
I’ve been appreciating ballads lately, and discovering that
“Watcha Gonna Do” is just as great makes this not only
my favourite Highlighters/Rhythm Machine release by a mile, but
an easy All-Time Top 10 pick.
9. Beth Gibbons & Rustin Man “Out Of Season” (Universal)
Every now and then something swings in out of leftfield, grabs me
hard, won’t let go and fully restores my faith in new releases.
When I bought this out of casual curiosity while going through I
strange time in my life, I’d never have thought I’d
end up playing it several times a day for months, but it’s
one of those records. A deeply personal masterpiece that’s
certainly not for everyone, but perfectly showcases her soul-shattering
voice.
10. Family Circle “Crazy” (PMRC)
Though there are many close calls, this is my favourite recent acquisition.
The tension-building bass and guitar intro, rattling percussion
and soaring falsetto lead are all perfectly in place. Getting hold
of records like this keeps collecting exciting, because although
I often have to chase down something I heard somewhere, and I’m
forever trying to secure long term wants, its hard beat proper discoveries
- even if they’re only new to me.
city you live in?
Nottingham
how long you have been collecting?
18 years in total.
most heart stopping find on a digging session?
Though I’ve had some pretty good hauls over the years (including
far more valuable and rare records), the biggest physical rush I’ve
ever felt was probably one morning five years ago when I bought
a complete set of the Ultramagnetic MCs 12”s on Next Plateau
for £2 each. It was probably a combination of the early hour,
them being one of my favourite groups, and the find occurring in
the centre of Nottingham, a city whose high appreciation for Ultra
made it a truly unusual event.
top spots for record hunting?
I try to find something I can use one way or another wherever I
go.
ebay. good or evil?
In the hands of a trophy-hunting chump who pumps their wage into
collecting the contents of Keb, Wrighty etc’s play-lists,
but wouldn’t know where to start in an actual record shop,
it’s quite possibly evil. But for those doing crafty bargain-hunting,
paying the rent by selling non-essential pieces or getting hold
of a rarely-seen top want, it can only be good.
motown or stax?
Moving Shadow or Suburban Base.
sneakers or shoes?
They’re called “trainers” around here.
creole or gumbo?
The few times I had gumbo it was pretty good. But I couldn’t
do without a decent Indian or Thai curry at least once a week.
favourite tipple?
Strong coffee off the stove first thing in the morning, otherwise
it’s Earl Grey by day and Budvar by night.
where can people see/hear you play?
The Social, Pelham St, Nottingham (first Thursday of the month)
for funk/soul, hip-hop etc, an old school Jungle night that’s
currently between venues, plus occasional gigs out of town.
anything to add?
Please email ruralconcourse@yahoo.com
if you have any ‘93-‘94 Jungle 12”s or tape packs
to trade. And thanks to Martin for inviting me to verbally masturbate
like this!
|
