With a name like that, various 70s glam heroes cited as key influences and an album due out in July entitled Rock ‘n’ Roll Glitter Suit it’s probably not too much of a coincidence that the paths of Darren’s Music Blog and Velvet Insane would eventually cross.
The Swedish-based band were formed in 2013 by guitarist Jesper Lindgren and describe themselves as a three-piece gang of rockers that reinvented glam rock by mixing the pop harmonies of the 70’s with the heavy sound of today. There have been changes in personnel and switches in record companies along the way but the band’s fortunes received a significant boost when they signed to a deal with Wild Kingdom/Sound Pollution earlier this year.
On the record deal the band commented:
“It feels inspiring and exciting to have signed a deal with Wild Kingdom. After working our asses off for years jumping around on different record companies it feels like we finally found our home. Wild Kingdom got the distinct rock ’n’ roll vein that we all love. Together we have made this glammy high energy rock ’n’ roll album that we feel very proud of. A wam bam beat that will knock you of your feet.”
An initial single and video, the wonderfully-titled ‘Backstreet Liberace’, from the forthcoming album was released back in May to great acclaim. All pounding piano keys, big handclaps, infectious riffs and catchy choruses there’s plenty to love about this.
‘Backstreet Liberace’ was then followed up with a second single from second single and music video ‘Sound of Sirens’ released 11th June. With a change of pace here they define it as 60’s pop gem made for the modern day.
Of the latest single the band say:
“We feel very proud about this catchy singalong pop gem and that it shows a slightly different side of Velvet Insane. Strongly influenced by The Beatles and 60’s pop music it gives you shivers and shows our passion and love for all kinds of music. A song we really looking forward to playing live and feel the energy from the audience in the future. With the video, we want to celebrate where we come from: the 70’s. Kiss, ABBA, Slade and glam rock/pop in general have meant so much to us in our musical upbringing. 1970’s influences in pictures and music but with the sound of today.”
The track is written by the legendary Sulo Karlsson of the Diamond Dogs who also produced and wrote the tracks together with the band on the upcoming album.
Tom Clelland is a Scottish folk singer-songwriter. He’s released several albums to date and Handpicked & Collected is something of a career retrospective. A double CD compilation comprising 23 tracks it brings together favourites from his previous albums along with live recordings.
His approach takes something from the Scottish folk tradition, something from American country and with Clelland’s compelling story-telling at the heart.
The first disc (the “Handpicked” part) features eight songs penned by Clelland based on historical events and myths. Themes range from war – including ‘Carion Craw’ commemorating the Battle of Harlaw in 1411 and ‘The Wind She Changed’ written at the time of the second Gulf War – to the supernatural such as ‘The Ghost With The Squeaky Wheel’ and ‘The Devil and the Hangman’.
With the second disc (the “Collected” part) we get a whopping fifteen songs and the themes are more eclectic here. There’s a much more personal feel to some of the song-writing here. Opening track ‘Slow Down’ is a delicious slice of infectious olde-time country while another country-flavoured track ‘Country Music Once Again’ takes a wry look at Clelland’s musical influences over the decades. There’s more of Clelland’s historical-based storytelling as well as the one track that’s not wholly original is ‘How Far To Babylon’, with lyrics adapted from a poem by Robert Louis Stevenson.
While Clelland’s vocals and guitar are at the core of all twenty-three tracks various musical guests provide additional accompaniment at various points, bringing added authenticity to the diverse range of musical influences explored on the album whether that’s Scottish folk or American country – from Mairearad Green on pipes to Willie Gamble on pedal steel.
Handpicked & Collected is a delightful retrospective from a talented singer-songwriter with a foot in both the folk and country camps.
L.A. Moore is a US-based singer-songwriter. Alongside two albums he’s recorded with folk rock influenced band Not Broken Yet, Late Bloomer is Moore’s first solo release.
Originally transferred to Florida from Canada for a job in corporate marketing, he found himself out of work in the economic collapse of 2008 and started attending open mic evenings in the Tampa/ St. Petersburg area. Over time L.A. hooked up with two other local musicians, John Stone and Paul Cataldo forming the folk rock band Not Broken Yet.
“When COVID came along the band slowed down its live schedule but I was fortunate to have the opportunity to sit in with The Joe Milligan Project and John Alan Carmack, both great songwriters in their own right”. “Of course the big challenge was to go out and play on my own. At that point you question whether you or the songs are good enough, but I thought, this is something I really want to do and I’m not getting any younger.”
I caught up with him recently to talk to him how he first got into performing, his inspirations and his musical influences, as well, of course, as his new album. Late Bloomer is an album of pithy, engaging, thoughtful original songs and some deft acoustic guitar-playing. I was keen to find out more.
Firstly, tell me a bit more about your musical background.
I was largely a” hobby” player, up until 2008. Guitar had always been a serious hobby and I did get out to play when I was living in Canada, but it was not until I was out of work in 2008 in Florida, that I really started to go out and perform. There is a significant and emerging music scene in the Tampa St. Petersburg area and there are wonderful opportunities to both play and interact with other local musicians. I ended up in a “Folk Rock” trio, Not Broken Yet, which has produced two original CD’s. (Not Broken Yet 2, being released as we speak). Sonically we are often compared to CSN and the Eagles.
And your main musical influences?
Being a child of the mid-sixties music scene, I was fortunate to be influenced by the great music of the time, Beatles, Stones, Zeppelin, Cream, Hendrix, with sprinklings of the other Brit Invasion bands. The first “album” I ever bought was the Butterfield Blues band, which of course lead me to The Blues Breakers, Mayall, Yardbirds etc. Motown was big too, so there is all of that.
‘Folk Music’ was still in its evolutionary phase coming out of the late 50’s, but as an acoustic guitar player I was influenced by Dylan, James Taylor, Cat Stevens, Joni Mitchell, Neil Young and local hero Bruce Cockburn who often played at the college I attended.
As my tastes and interests matured, I discovered Pentangle, Jansch and Renbourn, and later, John Martyn and Nick Drake. As I looked to improve my acoustic chops I discovered Geoff Muldaur, who had a very strong influence on my current style. Geoff also influenced the type of guitar I play, that being 12 fret models, once I discovered the unique qualities of acoustic 12 frets, I started to play them exclusively.
What were the key inspirations for the songs on the album, and your song-writing generally?
Well, “Late Bloomer” is pretty self-explanatory. I got out of the gate pretty late with performing and songwriting, but now I am making up for lost time with an enthusiasm and confidence I did not have in my youth.
When I first started going out to play in the local Florida music scene, there was a great emphasis on original song writing. Several of the venues, which did not have ASCAP licenses at the time, did not allow cover songs, so you had to write. The first of those songs was Little Miss Hurricane, influenced by my first weekend in Florida sitting in an empty house, waiting for my furniture to arrive and watching Hurricane Jean, rip the screen lanai off the back of my newly purchased home! Welcome to Florida!!
Naturally other songs followed and the themes ranged from suicide of a friend (‘Reach Out’) to ‘Home’ – which begs the question, where is home? Where you are from? Where you live? Or somewhere in the mind?
‘Rum Punch’ is also clearly influenced by the southern lifestyle. I was never a fan of Jimmy Buffet, but he is a HUGE influence in Florida and my not-so-secret wish is to one day have a crowd of sun worshippers singing ‘Rum Punch’.
As I moved forward with the songwriting I went back to some of those early acoustic influences and started to explore the great sonic opportunities of open tunings. Several of the songs on Late Bloomer are played in open D tuning.
And tell us a bit about the accompanying musicians you assembled?
Late Bloomer has a small “who’s who” of local talent. Largely produced and engineered by Stephen Paul Connolly at his Zen Studios here in St. Petersburg Florida, Stephen is a local guitar hero who toured as the lead guitar player for Roger McGuinn, when he pursued his solo career. “Steve” is highly respected for his production skills and draws the best local songwriters to his recording studio. He plays guitar, pedal steel and keys on several of the tracks.
Douglas Lichterman is a local guitar teacher and member of the Joe Milligan Project band. I have had the pleasure of playing with Douglas on several occasions and was honoured to have him play on Late Bloomer. TJ Weger is a local legend, playing guitar, mandolin, pedal steel, dobro etc. TJ was fundamental in bringing the “Americana” vibe to many of the songs. Sam Farmer is a very talented local drummer and solo musician. John Stone plays bass with me in Not Broken Yet and John Alan Carmack who sings backup on ‘Rum Punch’ is the hardest working musician in Tampa/St. Petersburg with his own exceptional CD Kentucky Motel.
Late Bloomer can be obtained via lamooremusic.com on CD and most digital platforms
After Comes The Dark – the long-awaited fourth album from Kent-based folk rock band Green Diesel is set for release on 16th July. The album was recorded during 2020 at Squarehead Studios in Sittingbourne and is the first to feature the band’s new five-person line-up. The album also marks the debut of drummer, Paul Dadswell, from Kentish acid-folk band Galley Beggar.
The current formulation of the band has enabled Green Diesel to explore new sounds and new directions. A noteworthy feature, and a distinct departure from previous albums, is that every single band member has written at least one song on the album. The result is an album of stunning folk rock with an inventive twist and innovative use of their studio surroundings.
Guitarist, vocalist and multi-instrumentalist, Greg Ireland, comments:
“After Comes The Dark is a kind of ‘folk in technicolor’. We used the studio to experiment with different sound textures and extra layers of vocal harmonies and you can hear that we’ve been inspired by more psychedelic sounds, too. There are plenty of prog rock and ‘Canterbury Sound’ bands influences in there.”
“The record is still very definitely a ‘folk’ album though. The major themes we explore are cycles, rebirth, the natural world and folklore. As each of us in the band grow older, the concept of the passing of time is apparent through many of the songs.”
As the band were preparing and arranging the songs, bands like Caravan and Genesis proved major influences – allowing Green Diesel to take a more experimental approach compared to past albums, exploring different time signatures and different musical structures. The twelve-string guitar features prominently on the album with suitably breath-taking results. The band were able to make full use of the fantastic array of keyboards available to them at Squarehead Studios.
After Comes The Dark was produced by Rob Wilkes whose previous work has included Smoke Fairies (as producer), along with Foals and Lianne La Havas (as engineer).
Hailing from Faversham in Kent, Green Diesel first emerged back in 2009, taking their inspiration from the depths of English folk lore and legend, and the classic folk-rock sound of their predecessors: Fairport Convention and The Albion Band. Blending violin, mandolin and dulcimer with electric guitars and drums, Green Diesel’s sound is born from a love of traditional English music and a desire to bring it to a modern audience. Green Diesel’s three previous albums: Now Is The Time (2012), Wayfarers All (2014) and The Hangman’s Fee (2016) have all won praise from critics and fans alike for the quality of song-writing and musicianship and the band have been a popular draw at festivals, from Broadstairs Folk Week to Beverley Folk Festival.
After Comes The Dark – track by track
‘Follow The River’ has been a Green Diesel live favourite for some time now and showcases the band’s rich vocal harmonies. Written by Greg while on a retreat to the Isle of Skye, the song was inspired by the power of water and the idea of simply surrendering to the current and being swept out to sea and to freedom. It also invokes childhood memories for Greg: “I have a vivid memory of staring at the water at Lydia Bridge in Devon for hours while on walks with my parents.”
‘Northern Frisk’, written by Ellen, is a song built around a tune, rather than a tune fitted into a song. Ellen: “I learnt the tune from the Pete Cooper book when I was looking for English 3/2 hornpipes. I knew from the start I wanted it to be about dancing and liveliness (frisk meaning to skip or leap playfully). The undead spirits emerged from the slightly darker undertones of the tune. I really like the layered crescendo as the tune builds up and imagine more and more dancers joining a whirring frenzy.”
‘Dusty Fairies’ is the band’s customary instrumental on the album. It comprises three tunes – ‘King of The Fairies’ and a couple of 3/2 hornpipes learnt from Pete Cooper’s English Fiddle Tunes book, namely ‘Dusty Miller’ and ‘Rusty Gulley’. Ellen’s dad, Chris, guests on concertina and helps create a mood that is in equal parts homage to a folk festival main-stage and tunes in the back garden with a glass of (homemade) cider.
‘Sea Song’ sees Greg returning to one of his favourite subject matters – the sea. Lyrically it plays with traditional folk ballad forms around heartbreak and loneliness. Musically, it has some medieval touches in places. Beautifully sung by Ellen, it is one of several slower songs on the album which sees the band broadening their musical palette with a contrasting array of styles.
‘I Wish My Love’ is a traditional song sung by Greg, based on Lisa Knapp’s reading of ‘The Pitman’s Love Song’. “Lots of time signatures on this one!” says Greg. “And an electric guitar solo that may not have been what A.L. Lloyd had in mind when he wrote about the song…”
‘The White Hart’ is bass-player Ben Holliday’s writing debut for the band. Ben plays guitar on this track and Greg plays bass. It is one of the more psychedelic tracks on the album, with an outro inspired by the likes of Espers and Mellow Candle. Ben: “The White Hart is a song inspired by a good friend of mine, who sadly lost her battle with a serious illness. It tells the story of resilience and grace when facing inconceivable adversity.”
‘Underworld’ was released in May as a single. Written by new drummer, Paul Dadswell: “The music was originally inspired by Philip Glass’s celebrated soundtrack to the 1982 experimental film Koyaanisqatsi, which got me playing about with an arpeggiator. I already had some lyrics about a moment of limbo when you have to choose between fantasy and reality, being born, or growing up, or moving past addiction. The moment of choice between living in the past and embracing the future. Feeling endlessly suspended between the familiar and the unknown. Or just getting out of bed in the morning…”
‘Katy Cruel’ is a traditional song, learnt from vocal trio Lady Maisery. Ellen: “There are various versions of this song, some that emphasise the plight of Katy but we wanted to make our version one that emphasises her defiance. She’ll take her own path!” The instrumental section is a 3/2 tune often known as ‘The Key To The Cellar’ and perhaps best known to folk rock fans as the tune for Steeleye Span’s ‘Cam Ye O’er Fae France’
‘Never Reach The Dawn’ is another song written by Greg, a dream-like song where the narrator is visited by the ghost of someone from the past. Lyrically, it was inspired by the canon of night visitor songs. Greg: “This is one of the tracks that helps define what the band aim to do – the inspiration and ‘launchpad’ is very traditional but we take that and bring in musical influences from outside the genre to create something completely new.”
‘Storm’ is written and sung by Matt in his customary enigmatic style! Matt: ‘Storm is an allegory for despair when met with insurmountable odds. A lament against scapegoating, denial and historic recurrence, but also a celebration of resilience and hedonism in the face of adversity.”
‘After Comes The Dark’ the album’s title track and closing song is another written by Greg. It uses the studio to create an unsettling texture – rural psychedelia meets folk horror. The song sums up the album’s themes of death, rebirth and the power of the natural world. Greg: “It doesn’t matter how many jewels and trophies you accrue – we all end up in the same place.”
Green Diesel – what they say:
“Green Diesel has skyrocketed into my top few bands” – FATEA
“Folk-rock in the grand manner” – R2 Magazine
“A band with roots deep in the native soil, playing their own electric interpretations of ancient English music” – Shindig!
“An established band simply getting better” – FolkWords
Ronan Gallagher has the sort of rich, seasoned, easy-going vocal delivery that makes it sound like’s he’s been performing around the pubs and bars of Ireland for decades. Married to some irresistibly catchy melodies, some thoughtful every-man style lyrics and a great cast of supporting musicians who deliver a fine blend of Celtic-infused Americana, it’s a sure-fire winner. Incredibly, however, Gallagher did not begin singing or learning to play the guitar until just over five years ago.
Clearly a natural, Time Waits For No One is Gallagher’s second album, a follow-up his debut Always Broke Never Broken released back in 2019.
Describing his songs “as gritty, passionate, raucous, lyrical, and at times political” they mostly tell stories of everyday life.
There are ten such gems on this album. They range from the title track, a jaunty number about living life to the full whatever your age, to the imposing ‘The World Is Burning’ a soul-infused, bluesy flavoured epic on the theme of environmental destruction. ‘Miss You’ meanwhile is a slow, sentimental country track with bags of character and bags of steel guitar. There’s no shortage of humour either with a US televangelist-style hellfire preacher making an appearance on one track.
There’s nothing about this album I don’t like. I just absolutely love it – incredible work and deserving of a much wider audience. Check it out!
Electronica duo Whyte have been compared to a Gaelic version of Sigur Rós, their brooding, shimmering arrangements forming a dramatic yet pleasing fusion of tradition and modernity.
Formed back in 2016, the duo are Alasdair C. Whyte (vocals) and Ross Whyte (electronics). Whyte were awarded the Scottish Gaelic Arts and Culture Award in 2019 and in 2017 won the Hands Up For Trad/Creative Scotland Nòs Ùr Songwriting Award for their original Gaelic song ‘Cionran’.
True to their experimental roots, the duo’s latest and third album MAIM is a collaboration with contemporary Gaelic theatre company Theatre Gu Leòr.
MAIM developed out of a partnership with Theatre Gu Leòr and a successful theatre production of the same name.The original theatre production, directed by Muireann Kelly, premiered in March 2020 and saw a run of sold-out shows at the Tron Theatre in Glasgow prior to advent of lockdown last Spring. MAIM, meaning panic in Gàidhlig, is a call to action, giving voice to the frustrations of the next generation who care deeply about the crisis facing their land and language, is how the show defined itself – and attracted a slew of favourable reviews.
“Both the production and the new album explore responses to the panic and horror we feel when time is running out,“ say the duo. “When faced with all we stand to lose – if we don’t make a stand against language and climate extinction.”
The album’s extensive sleeve-notes, curated by Ross Whyte, give the background to the duo’s collaboration and the creative process that inspired each of the ten tracks. A limited-edition book is also set for publication later this summer.
MAIM was recorded at GloWorm Recording with Gordon Maclean and Keir Long. Additional musical contributions come from Seonaid Aitken, Megan Henderson, Patsy Reid, Alice Allen and Màrtainn Skene (strings) and Elspeth Turner, Evie Wadddell, Cian McCarthy and Ruairidh Murray (additional vocals and guitar).
Experimental yet accessible and contemporary yet timeless this album will appeal to many fans of both traditional Celtic folk and modern electronica.
Released: 9th April 2021
Available from: Bandcamp | Amazon (CD, Download, Stream) | Spotify | iTunes | Apple Music | Youtube Music | birnamcdshop.com
Following a hugely well-received debut album in 2019, Scottish folk four-piece Gnoss are back with a follow-up. The Light Of The Moon reveals Gnoss to be in fine form once again and they will not be short of plaudits for this release. Featuring seven instrumentals and four songs, whether it’s the infectiously upbeat pieces or the more poignant ones The Light Of The Moon simply oozes with life and joy.
Built around the same quartet of Aidan Moodie (vocals, acoustic guitar), Graham Rorie (fiddle, mandolin, electric tenor guitar), Connor Sinclair (flute, whistles) and Craig Baxter (Bodhran, percussion) as on the previous Drawn From Deep Water album, this one also boasts Braebach’s James Lindsey on double bass.
Moodie: “The creative process spanned the strangest period in our lives. Most of the writing was done in isolation, with us finally coming together to arrange and carve the album’s sound in the autumn. We set out to create a record that was distinctly Gnoss not only by writing all-original material but looking more closely at blending the sonic textures of our instruments.”
“The album was recorded at the end of a year that should have been filled with career highlights and instead became quite the opposite – and I think all the emotion connected with that was channelled into the creative process of the release and we pushed ourselves into new spaces musically.”
Vibrant, inventive and joyful The Light Of The Moon promises to be one of the real stand-out contemporary folk albums of the year. A most excellent and not-at-all-difficult second album.
This week I celebrated my 55th birthday which means it’s exactly forty years since a rather significant album first arrived in my record collection. For my fifteenth birthday I had asked for a couple of albums: Status Quo’s latest release ‘Never Too Late’ from my mum and stepdad and Slade’s We’ll Bring The House Down from my dad and stepmum. I was actually away on a school geography trip to Wales for the day of my actual birthday and didn’t arrive back home until the following day but by the time I got home both gifts were waiting for me.
I vaguely remember Slade from my early childhood the previous decade but they had certainly not been on my radar for a long time. Not until I saw Noddy, Holder, Dave Hill, Jim Lea and Don Powell appearing on Top Of The Pops a couple of months earlier. After years of flops the ‘We’ll Bring The House Down’ single had taken Slade back into the Top Ten.
The song immediately grabbed my attention and I was now a firm fan. Asking for this album for my birthday was the obvious choice. Quo’s Never Too Late was very much the poor relation as far as birthday gifts went that day. The Slade album, though, I positively devoured, lapping up the likes of ‘Wheels Ain’t Coming Down’ and ‘When I’m Dancing I Ain’t Fighting’ and the rest.
Before long I was making numerous trips to our local second-hand record store in Preston to seek out Slade’s 70s back catalogue. This was 1981. Everyone else was into heavy metal, punk and new wave or the about-to-be-massive new romantic scene. But I was developing this obsession with 1970s glam rock. And it wasn’t just Slade. During the course of year I’d bought up much of Sweet’s back catalogue, too, not to mention albums by T. Rex and Mott The Hoople.
But the best was yet to happen. In August of that year, I tagged along with my dad and stepmum to see AC/DC headline at Donington. AC/DC were superb, of course, but even more of a revelation were Slade. This was my first attendance at a live rock gig ever but is undoubtedly the finest live concert I’ve ever attended. The Slade component in particular remains the most entertaining sixty minutes of my life.
And so, 1981 was the year that kicked off my Slade obsession and my love for all things glam. Glam was never really my era but musically it will always be my first love.
German heavy metal guitarist, Herman Frank, who played with Accept on their classic Balls To The Wall album in 1983 and commenced a second stint with the band in the late 00s is releasing his fifth solo- album, Two For A Lie, which will be out on May 21st.
A key player on the German metal scene, first with Accept, and then Victory and now with his solo work, his latest solo album follows Loyal To None, Right In The Guts, The Devils Ride Out and Fight The Fear which were released between 2009 and 2019.
The first single and video from the album ‘Eye Of The Storm’ was released back in March:
A follow-up single ‘Venom’ was released in April:
Ahead of the formal album launch a third song and the album’s opening track ‘Teutonic Order’ has now also been unveiled:
Reassembling key members of the team that worked with him on his previous solo release, the album again features Masterplan frontman Rick Altzi and Jaded Heart bass-player Michael “Mülli” Müller, along with newly hired guitarist Mike Pesin and drummer Kevin Kott.
The album was produced by Herman Frank and co-producer Arne Neurand, and was recorded and mixed at the Horus Sound Studios in Hannover
01. Teutonic Order 02. Venom 03. Hate 04. Eye Of The Storm 05. Liar 06. Hail The New Kings 07. Just A Second To Lose 08. Danger 09. Stand Up And Fight 10. Open Your Mind
Two For A Lie will be out on 21st May 2021 via AFM Records
I obviously talk a great deal about my love of music in Darren’s Music Blog but I thought it might be an idea to give readers a quick tour of my actual CD collection.
Although I was a keen purchaser of vinyl in my mid to late teens during the first part of the 1980s, frequent house moves in my late teens and early 20s meant that the format was becoming a bit cumbersome. By the time the 1990s came along I was glad to embrace the CD and gradually began building up a collection. From just a handful of CDs thirty years ago it’s now grown to what it is today. They are not all new. Many have come from charity shops and second-hand record shops and record fairs. I’ve had a couple of bulk acquisitions, including when my father, a passionate life-long rock fan, unexpectedly died back in 2007.
The filing system
For many years I just used to keep my CDs in alphabetical order. When I had merely a couple of hundred it was the easiest way of finding what I wanted. But as my collection grew I found I spent more and more time browsing to decide what I fancied putting on. I rearranged everything into a rough and ready series of genres. Given my varied musical tastes this is particularly handy as it means I can browse through the shelves according to my mood, depending on whether I’m in a folk mood or a heavy metal mood or whatever.
A walk through the sections
From left to right the subdivisions for each genre (and there’s no particular reason for them being in this order) are as follows:
Folk and acoustic – lots of Fairport Convention and Steeleye Span plus numerous others artists spanning the late 50s folk revival and skiffle boom to the present day. The more mellow acoustic end of the singer-songwriter/Americana genre is also included here. It’s mainly all about me being able to browse according to mood so I certainly don’t get hung up on what constitutes ‘folk’.
Heavy metal – pretty self-explanatory and includes everything from AC/DC to Black Sabbath to Motorhead, plus a growing collection of ‘New Wave Of Classic Rock’ releases. Again, I don’t get hung up on precise definitions: if it’s loud with plenty of guitar solos I know I’ll find it in here.
50s rock and roll and traditional blues – from Chuck Berry to Little Richard and from B.B. King to Muddy Waters they are all kept together here. A nicely growing part of my collection and some great charity shop finds.
General rock and miscellaneous – this is basically my ‘everything else’ section for stuff that hasn’t been put into a special category of its own. It includes the likes of the Beach Boys, Santana and Status Quo along with anything from a genre that hasn’t got its own section. I’ve not got a reggae collection but do have a handful of CDs by the great Bob Marley. They go in here, along with Sandy Shaw and Dusty Springfield.
Prog – from the Moody Blues and Pink Floyd to Barclay James Harvest and Yes, it’s all in here.
Punk and New Wave – back in the day I never really bought much in the way of punk or new wave artists but over time and through lots of great charity shop purchases I’ve built up a nice little collection including Blondie, the Clash, the Stranglers et al.
We now head down the hallway and into the spare room where I’ve recently set up another set of matching second-hand Ikea shelving units. They are far from full at the moment so some of them are just used for DVD’s, notepads, and bits of pieces of home-office life until my collection grows. The first two units are full though and contains the following:
Brit-pop and Indie – Blur, James, the Las, Supergrass et al are all in here. I bought a handful of these CDs when they originally came out. I was an enthusiastic Supergrass fan from the get-go – but many I’ve been able to buy for next to nothing from charity shops as all the 40-somethings dispense with their CD collections and switch to digital or vinyl or whatever else the cool people buy these days.
Glam rock – anyone who has had more than a glance at this blog will be aware of my passion for all things glam. It’s not really my era. I was only six when the Sweet’s ‘Blockbuster’ and Slade’s ‘Cum On Feel The Noize’ came out but by my early teens I was absolutely hooked, courtesy of Slade’s early 80s revival and many second-hand discoveries at Preston’s Action Records. As well as Slade and Sweet there’s the Glitter Band, Hello, Mud, T. Rex et al all filed here.
Frequently asked questions
Where do you get your shelves from? The first few I bought brand new from Ikea. All the subsequent ones have been picked up second-hand to match. It’s as easy to buy second-hand Ikea CD shelves for next to nothing these days as it is to buy CDs.
How do you file your CDs within each genre? Alphabetically by artist surname or band name and in original release date order for each artist with any compilations at the end. However, I do also make use of a bit of pragmatic grouping if an artist who is mainly involved with a band also releases a solo album. Mick Jagger’s She’s The Boss is under ‘R’ for the Rolling Stones, for example, not ‘J’ for Jagger.