Found today and rescued from a car boot sale in Aston Downs, the 5th album released by Supertramp.

Even in the Quietest Moments reached #16 on the Billboard Pop Albums Charts in 1977 and within a few months of release became Supertramp’s first Gold (500,000 copies or more) selling album in the US thanks to “Give a Little Bit” being a US Top 20 single and reaching number 29 on the UK Singles Chart.

In 1978, Even in the Quietest Moments… was ranked 63rd in The World Critic Lists, which recognised the 200 greatest albums of all time as voted for by notable rock critics and DJs.

Successful rescue of four fine pieces of vinyl this morning. Art Garfunkel, Spyro Gyra, Haircut 100 and a comedy offering from the Not The Nine O’Clock News team.

Spyro Gyra – Morning Dance

The second and best known of Spyro Gyra’s albums. A definite ‘chill out’ LP with well executed jazz fusion released in the summer of the stand out musical year  of 1979.

Art Garfunkel – Fate For Breakfast

Another 1979 release, the fourth solo record by Art Garfunkel featuring a different version of Bright Eyes. Garfunkel achieved international success with this album but it was poorly received in the States, never making the Billboard top 40, his first release which failed to do so.

Haircut 100 – Pelican West

Classic 1982 New Wave album which could be held up as the perfect example of the genre. Two singles, Love Plus One and Favourite Shirts are featured, and together with breezy, catchy Fantastic Day and Snow Girl make up a feel good album that sums up the early 80s to a tee.

Not The 9 O’ Clock News

The collectable, though reasonably common, first LP from the comedy team which remarkably made the top 10 UK album charts (as did the next two releases), a rarity for a spoken word album.

For those of a tenderer age to me, Not the Nine O’Clock News was a television comedy sketch show which was broadcast on BBC 2 from 1979 to 1982. Originally shown as a comedy alternative to the BBC Nine O’Clock News on BBC 1, it featured satirical sketches on current news stories and popular culture, as well as parody songs, comedy sketches, re-edited videos, and spoof television formats.

So, here we go again. The Car Boot Season is finally upon us, so expect brand new blog updates and images from the wonderful world of Car Boot Vinyl.

Our main site is now hosted on Tumblr, but this blog, for longer posts and, yes, sometimes rants, will remain right here. Please do keep checking back regularly, and for our main site, including items for sale and shorter posts, check out Revival Records.

Happy hunting all!

Saw this a couple of years back and it has become one of my most treasured possessions. I’ll post more clips from the entire session to youtube over the coming weeks (when I have time) but until then enjoy the first track, Blues Run The Game.

Today was a sad day. We7, the free on-demand music streaming site that I have supported and enthused about since it’s inception has gone.

It’s still there in name, but definitely not in spirit, as it’s free service loved by many has reverted to a poorer version of last.fm’s radio service. It’s a struggle in the competitive online music world, of course, but in 2010 we7 proved that ad based free on demand services can work, and broke even for the first time since they began. Steve Purdham, CEO of We7, stated that

“Making ad-funded music on-demand add up has been our single ambition since we7 first started.”

and they succeeded. So why the sudden U-Turn?

Well, it’s what we want of course! It’s the users that have driven this change, we don’t want free on-demand music we want a random selection of ad interrupted radio. Clive Gardiner, SVP of Digital at We7, and also board member of the Entertainment Retailers Association (which speaks volumes) told me earlier today:

“we’ve evolved the site to meet how most users want their music which is unlimited personal radio…..over the last year and more we7 users chose ’sit back’ personal radio so we’re making it even easier”

Now, this is somewhat glossing over the fact that radio play costs about one third of the price of on demand play in terms of royalties, so while users of we7 are losing out, so the artists are the ones who suffer more (again) with this change. Listening on demand pays artists 66% more than they will get on we7 radio.

Yes, we can pay £5 a month for ad-free on demand, but surely that’s missing the point? On demand meant you can listen to the album before buying it. Artists win twice, ad paid on demand royalties, and if it’s good and worth buying, either physical format or itunes/e-music/amazon purchases into the bargain. I didn’t have to pay to preview albums in record shops all those years ago, and I don’t expect to pay to preview them now. If music is good, really good, most people will want to own it in some form. I think that fact is often overlooked.

We7, so critical of Spotify’s model which pays artists poultry amounts ($170 to Lady Gaga for over 1 million plays!) and who were quick to take the moral high ground just over 1 year ago, have now followed suit without any apparent feeling of shame or hypocrisy.

Reaction on twitter has been less than complimentary so far…

Dayvie:

“So, essentially, what was once free (& add supported) is now hidden behind a paid for subscription?”

MattEFro:

“Giving new #we7 site a chance. Trying alternative radio, first song fucking #mumford&sons. What a joke.”

Fieryyellow:

“50 songs cap on request makes it worthless. And how many marmite ads did I endure for this? Hate cuisine? Hate new we7!”

Curty_:

“wtf’s happened to @we7? only 50 track requests a month and some marmite advert playing over the top of them. #goodwhileitlasted”

I feel particularly sad as it seems nothing and nobody is beyond the corporate cashing in. Artists are not driving this change, the record industry is.

Meet the new boss, same as the old boss….