Cocteau Twins' Lullabies

I promised to add to this blog whenever I got every version of a release and show all the different versions. This is always tricky as how is one to know whether there are other versions other than than the ones I know about.

I thought I had every version of the Cocteau Twins' Peppermint Pig single for instance, but recently realised that a US version of the CD was released in 1991 and, although outside of the "First Ten Years" remit, still helped me paint a complete picture. So after acquiring that version, I've added it to the blog entry at the end, please reference here for the additional information (at the bottom of the page)

As I said, it's difficult to know sometimes whether there are other versions that exist. I used to think that there were only three versions of the Cocteau Twins first single Lullabies, only one of these being an original from 1982. When this happens, I hold back a little to give myself time to discover any other versions. Thankfully I did wait as I discovered what must be a very rare gem, so much so that I think I must also share this :

This is rocking horse poo and is about as rare to find as one of the these four versions of the Lullabies single. Somewhere out there may be something even rarer than the above, an original poster or postcard for the Lullabies single. I haven't found one yet, but as always, that doesn't mean that one doesn't exist. The image is taken from a book by Stefan Lorant published in 1937 called Liliput Pocket Omnibus

So here we go then, Cocteau Twins 1982 single Lullabies

(1) Netherlands 12"
(2) UK 12"
(3) UK CD
(4) US CD

The two CD's are re-issues from 1991. That is strictly outside of my collecting remit of the first ten years, but it would be a shame not to include them when there are just these four versions.

(1) Netherlands 12"- 4AD / CNR - 151.089 released in 1982

This is the rare one. Lullabies was the first Cocteau Twins single and was released in the UK and can be quite easily found. It wasn't until very recently that I discovered that it was also released in the Netherlands. The item on ebay had no photo and only had a description of the catalogue number. Discogs was a useful tool here, becasue even though it wasn't listed on Discogs, I could go to the CNR Weesp company to see if this catalogue was missing from the listings and it was. Something had to belong to the missing catalogue number, so I took it as a hint that this ebay item may be genuine....and it was!

This version has a slightly darker contrast on the cover than the colouring of the UK version.

The back cover has a slight amendment to the 4AD logo at the bottom :

It shows the catalogue number which is poorly printed and a little blurred (Do not adjust your set)

As is also the text "Marketed by CNR Weesp" in the bottom right corner

The labels are intersesting, as they resemble the 4AD labels of the previous year (1981). If my label history of 4AD is correct (here), 4AD must have distributed left over (possibly??) labels from 1981 out of the UK for the non-uk releases. (4AD labels were still used for Bauhaus releases in Greece even when Bauhaus were no longer with 4AD but by then on Beggars Banquet)

These crumpled paper labels were used on UK releases in 1981 and then they moved onto other picture labels in 1982 (as you will see in release 2). This Netherlands version still has the crumpled paper picture and older black 4AD label design

(2) UK 12" - 4AD - BAD 213

The UK version is lighter and brighter in colour than the Netherlands version

The catalogue number on the back sleeve is at a 45 degree angle (who knows why)

On one side the label has the female wrestlers picture, typical of 4AD in 1982, one of three picture labels used that year

and the other label all in white also typical of 1982 and progressed on from the 1981 black label.

(3) UK CD- 4AD - BAD 213CD released in 1991

As with the CD single for Peppermint Pig, this was released for a singles box set. But either some were sold separately or since then, some scrupulous traders have split them on the second hand market to make more money.

The UK version comes in a slim CD jewel case and the cover is the same as the original 12" a typical single cover that folds over itself and shows the 12" back cover on the inside

(4) US CD- Capitol - C2-15766 released in 1991

As with the UK version, this was part of a set but could also have been sold seperatly. The colour of both the UK and US CD's are a pinky bronze colour. But the US disc is slightly darker in colour than the UK one

The front cover is different to the UK CD version as it only has a single piece with a white back, no folder over with the back cover of the 12".

The inlay is also quite different with both the Capitol and 4AD logos

These are the four versions I have found so far. As with the Peppermint Pig single, if I find any more, or even a postcard or poster, I will add it here and let you all know about it.

Full listing here on Discogs

Utrecht International Record Fair 2016

I have seen adverts for the Utretcht International Record Fair for a few years now and always wondered what it would be like to see it for myself. I live in the UK, so getting there wouldn't be that difficult, but I'm far away from being a comfortable seasoned traveller. This is not helped by the fact that I have one of the greatest disadvantages of being English. That means I belong to a country where the language is spoken nearly the world over and so, many English people, myself included, don't ever feel the need to even try and speak another language. Don't get me wrong, speaking other languages gives a person great confidence and potential, but my problem, apart from being English and being awfully lazy as well, is that I'm just not cut out for languages at all. I can barely master English (as many of you readers may well be aware of) so I'm awful at other languages. This doesn't help one's confidence when planning to go abroad. I personally would think it ignorant if someone talked to me in England in another langauge and just expected me to understand them and help them. So I think it's ignorant of me to be the same abroad. But then, if I had to learn another language to go abroad, I simply wouldn't travel. So I drag my ignorant arse around other people's countries with no attempt at the local languages. This makes me ashamed to be so ignorant and lazy, which puts me off travelling. Thankfully I have a wife that isn't so ignorant, so she drags my sorry ass to places I wouldn't dare to go myself, because I'm pathetic!!

This holiday was supposed to be different. I really wanted to see if the International Record fair would restore my faith in record fairs in general and in the traders as well, after all it should be the pinnacle in record buying. So I talked about it with my wife, who said I should go. As usual, the idea excited me no end, but the prospect of dragging my ignorant arse across Europe quashed that excitement harshly. I know the rest of the world probably think that most British people are drunk, inconsiderate twats when abroad and so most foreigners expectations are likely considerably low anyway, but I have a problem with re-enforcing negative stereotypes. I like to think that as a person with strange dress sense and an alternative view on life, it's a life bonus to hit people that have a stereotype with a persona of intelligence and moral fibre (rarely found in many walks of life). I don't care what people think of me, I do care what I would think of me if I bumped into myself on the street. My wife says I think too much....which was the whole problem, I was going to go, then I talked myself out of it, then changed my mind again, then decided against it.

After a couple of months fighting with myself over the decision to go, my wonderful wife offered to go with me and just get the thing booked. So we did.

The flight only took an hour to Amsterdam. We booked a hotel in Utrecht right next to the train station, which was actually reasonably priced for it's location and was only a stone's throw away from the location of the record fair as well. The trains from Amsterdam Airport to Utrecht are every 15 minutes and it takes about 30 minutes travel time. We took out extra luggage space for the flight, just in case I found loads of stuff at the fair and needed to bring all that heavy vinyl back in a suitcase ( only hand luggage was included in the flight price). I had no idea if I would return empty handed or packed to the gills with so much stuff that I would be overweight at the airport check in on the way back....I had no clue if this fair would be the same as all the other UK fairs and be a total disapointment, but just bigger, or be an absolute delight.

The fair runs over two days, Saturday and Sunday. If the pickings were amazing, I may do both days, if they weren't, I may be going crazy by lunch time. We booked 4 nights at the hotel, so if my worst fears were realised we would still have time to look around Utrecht and even Amsterdam. Besides which, Holland has so many record shops, surely the backup of those may rescue an otherwise disastrous trip. There was plenty to do otherwise. So I booked tickets just for the Saturday in advance, that way if the fair was awful, at least I wouldn't have wasted a weekend ticket. If the fair was unbelievably good, I could still go on the Sunday as well and buy a ticket on the door. The tickets where about 12 Euro's each for one day and the weekend ticket wasn't much cheaper than buying the two days individually. There are supposed to be around 500 stall holders, but I have seen this before where exagerations border on complete lies.

The most difficult thing about the trip would be inconsideratly dragging a bored wife around with me for 5 days. Usually when my wife books a holiday, I remain totally ambivalent to the prospect, even right up to the day itself. This is mostly becuause of the reasons explained earlier and also becasue of the uncertainty that usually goes with a holiday. I like to know what to expect and have every scenario covered, which when it comes to holidays abroad is just unreasonable and impossible. This time, although there were still so many unknowns about this trip, I was excited and my wife was completly non-plussed. Once we got on the way to the airport though, we had everything planned and discussed beforehand. I just bought the Saturday tickets for us both with the option of doing Sunday if needed. I printed off a booklet of my 4AD collection from Discogs and also another booklet of my wantlist from Discogs too. The plan was for me to hunt through the records on each stall and when I found something that had potential, my wife would look the item up on my list. That would keep us both involved and hopefully try and minimise her boredom. She took her kindle book reader anyway just in case.

We arrived in Utrecht on the Friday afternoon and booked into the Hotel NH Utrecht, a surpisingly nice hotel. We had a tip to get a room as far up as possible as recent renovations had started at the top of the tower and worked down. The room was wonderful on the 15th floor and had an amazing view over the south of the city. After settling in we went out into the city to get something to eat. The Utrecht Centraal train station has quite a few fast food eateries that open quite late. The city centre canal has quite a selection of places to eat. We wanted to find some traditional Dutch food, but found that difficult to find. Instead, like in the UK, there were loads of Italian, Indian, Turkish and Greek restaurants and after a long day we just settled for an Indian, which was wonderful. While in there waiting for our food to arrive, two men just finishing and leaving the restuarant asked me if I was a trader at the fair, he thought he recognised me. They were traders themselves and like many we bumped into over the weekend, especially at the hotel, they had set up that day ready for the weekend.

The fair opens at 9am on Saturday. I planned to get there early to maximise the day, although I had read a review of previous fairs that told me that the Saturday is for enthusiastic collectors and Saturday morning brings the highest prices. Sunday tends to be cut price attempting to lure the passer by rather than the avid collector.

There is a map of the trade hall showing the hundreds of traders and who they are and which pitches they hold. Each one also has a small description of what they sell, if they bother to tell you. From those I put together a battle plan of the most likely top targets to hit first. There is a whole section in the fair devoted to Metal / Punk / New Wave, but the list of best potentials seemed to be all over the place. At least I had a plan, which was a start, which gave me a zig zag through the floor and at least gave me a focus to start on.

Although the fair is advertised as being held at Jaarbeurs which looked on a map to be part of the Beatrix Theatre, in fact it's accross the road and is a massive exhibition centre. On the Saturday morning after a quick breakfast stop in the train station, we made our way to the exhibition centre. I wasn't sure how many people would be lined up at the entrance at the opening time and I even wondered if it would be best to hit the fair a little later to miss any initial rush. There were streams of people walking their way to the entrance, strangely a mix of all sorts of people. This mixture made me wonder if we were going the right way as a 50/50 gender mix is not the record fair norm at all. When we got in I realised why. The entrance queue moved pretty quickly as the tickets were all printed barcodes which got the public through pretty fast. Once zapped in, I was all ready to go, trader map in hand. But in front of us was a massive hall of antique traders. As far as the eye could see, there were tables of bronze and old wood. I remembered another review of the fair which talked about getting past the other halls of traders, non music related. We moved into another hall and the antigues had turned into comics and movie collectables. We couldn't find any music at all, just hundreds of traders and people looking at "vintage" collectables. Out of the corner of my eye I could see a yellow sign that stood over a stall which said "45's". As we neared the sign, the next hall showed a mixture of scruffy looking and poorly labelled traders selling cheap vinyl mixed with other souvineer stalls, this still wasn't the fair I was looking for. Through into another hall there was a half empty expanse and I thought that this would be it. There were a buch of food traders selling allsorts of fast food and more cheap vinyl traders that looked like the records had seen too many poor days. Through the food retailers though was another hall, filled with lots of vinyl traders covered in banners and hanging "eye catchers" as their backdrops.

My poor wife, I was really concerned with the hell I was going to put her through for the next few hours, but she had a brave face on and we started to tuck in. The first stall was just on the outside of the main hall and looked sparse. The guy with his missus behind the counter was wearing a leather jacket and looked like a full on metal rocker and his stall was half empty. When a trader lays out his stock flat on the table, he hasn't got much to sell. That stall didn't last long, onto the next one. The hardest thing moving from one planned stall to another was closing my eyes to the draw of signs such as "New Wave" and "Alternative" sections on other stalls. I was determined to stick to my plan and get to the what I thought was the most likely best hitters.

After the third or fourth stall and finding they had practically nothing of what they had advertised as having and nearly a half hour of finding nothing even close to any 4AD stuff on sale, I started to get frustrated and pulled away from my plan by the section signs on other traders stalls. The problem with the fair is getting lost if you randomly have no method of going through the stall holders. I should have crossed off the ones I had visited as after an hour, I couldn't remember which stalls I had been through already. I'm usually not lost easily and I'm well coordinated, yet already I was struggling. I think just starting at one end and working a way through may seem a logical way to hit the rows one after the other, but that just may take a week to work your way through. The size of the fair just can't be under estimated, it's fucking huge!

After about an hour and half way through my list, I still hadn't bought a thing. I have talked before about how easy it is to recognise early if you are onto a winner. If there are no Cocteau Twins or Pixies, there's every chance that you won't find anything else. I had found practically nothing and was suprised that I hadn't bumped into any Cocteau Twins at all, anywhere. I had on my list a reminder to drop in on the Discogs stall and simply just thank them for a great site. With all the problems that I do have with Discogs, next to what I had before, which was an annoying Excel spreadsheet, it's an absolute godsend of a site. I turned up to the Discogs stall still empty handed. A lovel lady greeted me and asked if I had used Discogs. Of course I had to tell her how much I liked Discogs and also how much it also annoyed me as well, particularly the online snobbery of some of it's ardent users. She asked me to get in touch with her about any behaviour, but you can't stop people being gits online, otherwise there would be practically no-one on the internet. She left me her card and gave me a free vinyl carrier and some Discogs stickers. It was good to put a personal face to Discogs.

After a quick loo break, I finally bought an item. I was off finally after nearly two hours of nothing. There were quite a few items over the next few stalls that I already had. I was purposefully avoiding the UK stalls as I have practically everything on UK releases. It was amazing how easily I could spot a UK stall without talking to the trader or looking at the trading sign above the stall. Every UK trader had the same predictable stuff that I trawl through when at home at record fairs. There was more than once when I got halfway through a box and said "I think this is a UK stall" and lo and behold it would be.

In the centre of the Metal / Punk / New Wave section of the fair was an amazing trader that sold tons of Dark Wave, Industrial and Goth stuff. In there was the first Dead Can Dance stuff I had found as well as loads of cool stuff, unfortunately all ridiculously priced. There were a couple of Love Is Colder Than Death vinyl LP's both of which were priced at over 100 Euros each. The stall also had a Dead Can Dance picture disc, a bootleg, but a nice one. At first I thought the 20 Euro asking price was too much, but I changed my mind later in the day and by then it was gone. That's a lesson right there, if you see something and you are thinking twice about getting it, then just get it, because it may well be gone before long.

One other great stall was a Japanese owned stall of just Japanese releases. I got a Cocteau Twins and a This Mortal Coil releases from there. A lot cheaper than getting them posted from Japan. That stall also had good quality releases and all labeled very clearly. It was one of the best laid out stalls in the entire fair, very professional. By lunchtime we had resorted to just going up and down each aisle and picking out any New Wave or Indie section. The vast majority had absolutely nothing at all. Overall it was very surprising how few pickings there was. I still think that the main vinyl collecting market is still stuck in the sixties and seventies.

At lunchtime we pigged out on a disgustingly sickly waffle which just dripped with fat and sugar but filled a hole for a few hours. By the end of the day, this is what we had picked up :

The Breeders - Pod (4AD, Rough Trade - RTD 168) LP,
Cocteau Twins - Echoes In A Shallow Bay (Virgin, 4AD - 15VB-1064, BAD 511) 12"
Colin Newman - A-Z (Beggars Banquet - BEGA 20) LP,
Colin Newman - Provisionally Entitled The Singing Fish (CNR Records, CNR Records - 656 010, 656010) LP,
Colour Box - Breakdown (Second Version) (4AD, Megadisc - BAD 304, VR 22633) 12"
Dead Can Dance - Spleen And Ideal (DG Discos - DG-219) LP,
Modern English - After The Snow (Expanded Music - EX 28) LP,
Pixies - Monkey Gone To Heaven (Rough Trade, 4AD - RTD 052T, M1-266) 12"
Pixies - Surfer Rosa (4AD - VG 50372) LP,
Pixies - Surfer Rosa (4AD, 4AD, Rough Trade, Rough Trade - MD 7917, RTD 72) LP,
This Mortal Coil - Filigree & Shadow (Virgin - 60047) 2xLP,
This Mortal Coil - It'll End In Tears (4AD - YQ-7045) LP,
Various - Doctor Death's Volume I - Cette Enfant Me Fia Mourir (C'est La Mort - CLM001) LP,
Various - Lonely Is An Eyesore (DG Discos - DG-214)

...and also a non 4AD release I had on my wantlist, an LP I have been after for a while and is hilarious. 

Bad News (3) - Bad News (EMI, EMI - EMC 3535, 74 8310 1) LP,

My verdict on the Utrecht International Record Fair? It left me slightly warm. It was huge, there was a massive amount of vinyl on offer, but out of all that vinyl there small pickings from the 900 items I have on my wantlist. Record traders seem to be an internationally poorly organised set of beasts with a crazy variation of prices. There were a couple of items I already had that were priced in the range of a hundred Euros that just weren't worth that kind of money. Maybe on the Sunday they would have gone down in price, but after a full eight hours of searching, I was knackered and didn't fancy starting to rifle through A-Z boxes with all mixed genres in a hope of having a small amount of luck. My wonderful wife was also extremely knackered as well and hadn't moaned once all day. If it had been the other way around, I would have struggled to have been that patient and supportive. I am a lucky sod really.

I think I would go again. I would probably go row by row next time and pick out the labelled boxes on each stall. I may even confine myself to a Sunday to see if the prices are any better, although the pickings may be even slimmer by then as well.

Deciding not to go back on Sunday, gave us two days in Holland to do a spot of sight seeing. Utrecht is a wonderful place and well worth a visit. On the Monday we made a train ride to Amsterdam which in contrast is too busy and filthy next to the cleanliness of Utrecht (maybe because of all the drunk and stoned Brits that visit Amsterdam). There was always going to be an element of record shopping that had to be done when in Holland and the record fair just wasn't enough. So once again I dragged my poor wife around Amsterdam looking for what one website called the best record shops in Amsterdam. After hours once again spent looking through records, I finished with just one purchase :

The Birthday Party - Prayers On Fire (4AD, CNR Records - 656.009) LP, 

By Monday afternoon both my wife and I had had enough of records and went around Amsterdam on a boat trip trying not to waste our tour money by falling asleep in our seats. 

The whole experience was absolutely knackering. It was great to get home and get some rest. It's hard to know if it was all worth it for just 16 records. I suppose it beats doing it all online and I got to see some of Holland as well. Utrecht is a great city.

On a final footnote, if you ever go to a large fair such as this, take some hand cleansing gel with you. Once back home, I noticed that both my eyes had started with infections and it was only at that point I realised that I was handling goods that hundreds of other people had also rifled through. A good anti bacterial cleanser used occasionally may be a good idea.

Thanks for reading and sorry for taking so long once again to add a post. I will once again endeavour to make an effort and keep posting

The sands of time keep on dropping away, darn it!

Can anyone remember where I was this time last year?

Well I was desperately trying to get my want list down to below 900 items. Time is running out quicker than you may at first think between now and 4AD's 50th anniversary in 2030. I know what you are saying, 900 items in 15 years, that should be so easy. But I'm still discovering as many new items as I am finding, as last year's countdown to the new year showed. 

I really wanted to be able to strike off a 100 items per year and at least stay ahead of the falling sands. All year I have been giving myself a hard time as the reduction in my wantlist just didn't seem to go down that much month on month. 

Now at the end of 2015, a year on from trying to get below 900 items ....and failing and now have my wantlist down to...wait for it....

893

Hold on though, despite the awful lack of stuff to buy at record fairs and shops around the country, I have been buying online all year through (well except for December as I was a little strapped for cash). So I have I ended up only 13 items lower than this time last year. All year I've been perplexed as to why this is happening until I looked at how many items I have acquired this year, nearly 130. 

This is why I don't have much time left until 2030. It doesn't help of course that I have such problems finding the stuff I need to get on top of everything else. Thankfully I got some great Aussie releases, thanks to a cousin in Oz (thanks Sophie and Tom) and travelling family. Postage from Australia is so expensive!

There's a few things I ought to be adding to this blog by now. I have some amazing posters, I have actually got some complete releases now other than Cocteau Twins Peppermint Pig and Bauhaus's Dark Entries. I have actually visited and had a nice discussion with an actual professional trader, so it would be nice to get a trader's perspective from him. And, of course, I still have many duplicate items that I need to give away, including a very nice Japanese Cocteau Twins vinyl edition of Treasure, worth a reasonable amount I'll tell you. So I have plenty to blog about in 2016

So a Happy New Year to you all and all the luck for this year in all your crazy collecting ventures!

Top Ten 4AD Covers, What's Yours?

A reader got in touch with me recently and asked me to do a feature on my top 4AD cover designs (Thanks Ar Ti).

The late seventies and early eighties independent music labels became renowned for their artwork. Of course 4AD, along with Factory, became synonymous for a label identity created through their cover art. All art is so very subjective. I did a blog entry on my favourite 4AD albums, but I'm sure there were many people that scratched their heads wondering why I picked what I did. I think visual art is even more subjective and opinion seemingly more open to ridicule. Nevertheless, I know what I like and why. My opinion has been asked for so I shall give it.

It is my opinion though which tends to cause some arguments. I have always had an issue between the lines of art and function or art and business. The past couple of decades have seen very clever people in business using clever strategy to sell something as art, that basically isn't art at all. Many of us are drawn to limited numbers, a special opportunity to experience something that only the appreciative will get to experience, but marketing anything as limited doesn't make it an instant collectible. Limited edition Mars bar anyone? In a similar way, just because something is marketed as art, doesn't make it art in my opinion. Designers are the problem. That half way house where an artist uses their talent to spruce up a functional item. While I respect the talent, I think many of these examples are simply not art. If a ceramic artist creates a cup, it's still a cup, no matter how talented the artist is. Selling it as a piece of art is just marketing. A cup is not made to represent any kind of emotional state or to represent the feelings or despair of its maker, it's simply to drink out of. A car is a functional item and, while it is nice to drive a nice looking car, it's not a work of art. Instead it is an object that has had the food budget of a third world country spent on it just to get potential buyers to go weak at the knees at the sight of it rolling around the streets of an eerily deserted city road.

The music industry is where sonic art meets visual art and a greater clash between representation and pure marketing uncomfortably meet. There's a blurred line between music made purely for commerce, cleverly marketed and packaged as the "real deal" against music made by artists that primarily make music to express themselves. My opinion is that designers for labels such as Factory and 4AD, although true artists, inadvertently helped blur the lines between function and art. For me album design is just on the right side of art, like a beautiful piece of painting on the side of a cup. The cup isn't neccasirly art, but the painting is. It doesn't matter how much artistic talent a designer has, if their work is poured into a functional item, for me the item doesn't become art.

But then I am an over opinionated walrus!!!

I've always loved the visual side of collecting music. I was always in awe of Roger Dean's designs in the seventies of strange other worlds on his Yes album covers. There was nothing better than sitting listening to Budgie's Never Turn Your Back On A Friend while studying the gorgeous full colour gatefold sleeve

I always thought that the Cocteau Twins cover design for Love's Easy Tears was very similar to Pink Floyd's Meddle

Anyway, onto my top ten 4AD covers, in no particular order, let's get on with it...


1 - Birthday Party - Junkyard

You may think that I would completely bow down to 23 Envelope but thats not true. I don't care for popular opinion or trend of thought. Just because I love much of what 4AD produced, there is no rulebook that says I have to be elitist in my personal taste.

This picture was created by an artist called Ed Roth who was a custom car designer and builder who put his talents into cartoons and illustrations. His character Rat Fink (with the gun) was a sort of alternative Mickey Mouse. I think that this cartoon represents the music perfectly, tight and structured while on the verge of chaos and both simultanious implosion and explosion.

2 - Dead Can Dance - Aion poster

Not the actual cover, but the UK tour poster. I like the actual cover of the album itself which is a very small part of the Garden Of Earthy Delights by Hieronymus Bosch. The poster covers the tour around the UK for the Aion album, a tour I had a chance to witness but regrettably I didn't go to. The tour poster is probably my favourite peice of 4AD artwork and looks fantastic framed and displayed. The quality of the colour and print is remarkable and must have cost a sweet sum to have had printed. If you ever get a chance to purchase this, you won't be disappointed. Of course the album is amazing too and featured in my Top 10 4AD Albums list (in fact, a lot do, so am I biased towards the sleeve design).

3 - Dead Can Dance - Within The Realm of a Dying Sun

This cover always reminds me of Joy Division's Closer album cover in a small way. It's a step between life and death as the figure almost looks like an actual person cloaked and not an actual statue in a graveyard. The cover's photograph was taken in Paris, at the Père-Lachaise cemetery. It features the grave of the politician Raspail. Can you get more gothic than this and could the music be anymore gothic as well. Another fine example of the cover reflecting the mood of the music therein.

4 - Colourbox - Baby I love You So

I'm a sucker for reds. I know nothing about the images on this release, I just love the feel of the image. Very velvety. Let's hope that somewhere out there, there exists a poster for this. For me the font and text are irrelevant. "Sacriledge!" I hear you scream, but this is where function has to be performed for me. This would be even better without the text, yet maybe the 45 in the centre I would let stay. Don't get me wrong, the choice and style of font and the presentation of text is amazing, but it is functional in my opinion and would be better without it. But needs must as the devil grinds the marketing wheel. Still an amazing cover though

5 - Le Mystere Des Voix Bulgares - Le Mystere Des Voix Bulgares

Used for the background of this blog. Reminds me of a drowned former glamourous life like a memory on a sea floor of some luxury liner. I wouldn't say the music is as atmospheric as the cover suggests, perhaps one small example of where the cover doesn't always accurately reflect the music within. I love the music on this album, but Bulgarian folk music can be quite harsh and beautiful at the same time, something not really reflected here. Still as a piece of artwork stood alone, it's a magical piece of photography.

6 - Pixies - Doolittle

The original UK release of Doolittle came as such a great package. A plastic bag with the cover printed on it, a full colour 12" 16 page booklet and an inner sleeve. Also 4AD sold a set of postcards with the artwork from the booklet. This is a full art set, an amazing collection of photography reflecting the songs of the album. The graphical element added to the overall look of the artwork and fits the metronomic feel of the songs. The images fit so well with the music on the album, even if the cover is overtly obvious with it's interpretation of the song Monkey Gone To Heaven, the artworks only negative reflection.

7- Coctea Twins - Treasure

Maybe it's because V23 liked to reflect the music in their covers that I like a lot of the covers for Cocteau Twins releases. I like the music and the covers reflect the music, so it should go that I like the covers as well.

This cover for me is very gothic. Hints of the Victorian and a melancholic wedding. The use of material gives you a reminder to your senses of something that you have have touched before and felt in your fingers, material that feels soft to the skin but coarse between a finger and thumb. Eerie and beautiful, it looks almost derelict, decaying. Incredible gothic beauty


8 - Cocteau Twins - The Spangle Maker

Victiorialand would be included in my top ten except for the beige surround which ruins the cover. But The Spangle Maker is a beautiful piece of work.

The original UK release came with an embossed sleeve where the frame was slightly raised around the photograph by Gertrude Käsebier called The Crystal Gazer. Once again that Victorian feel blends with the gothic feel of the music and the blurred, distorted edges reflect the wash of effects used on the Cocteau Twins signature guitar sound. There are no fonts and text needed here. The tour poster is quite an incredible piece as well.

9- Cocteau Twins - Head over heels & Sunburst and Snowblind

Head Over Heels along with Sunburst and Snowblind is just the most brilliant photography. Nigel Grierson did some of the most unusual things to get shots like these. The high quality and sharpness in the variation of colour is just breathtaking. The photos encourage you to not only look deep into the detail and the range of colour, but to look more closely at the every day beauty around us all in the seemingly randomness of patterns in nature, things you wouldn't normally look at closely. A set of posters from these photography sessions looks incredible framed and mounted. I know as I have them in my hallway.

10 - Lush - Scar

The reason I have included the rear sleeve here is because the whole cover (even inside the outer sleeve) is a collective work of art. Once again it reflects the harsh and soft combination of the music. If this is shoegaze, those are some interesting footwear. This was released in an era when computer generated graphics were all the rage and years on look really tacky. But here Vaughan Oliver and Christopher Bigg have resisted the trend and produced something much more timeless.

All comments are welcome, remember these are just my personal choices and opinion, which I have a right to, even if you think my opinion is total tosh. Would love to hear your preferences....

Will I ever fall in love with Record Fairs ever again?

Over the last two weekends I have visited two record fairs in the vain hope of not relying solely on the internet to find the stuff that I want. There is a certain pleasure in rummaging through loads of boxes of interesting music. The elation when finding something you've been looking for for a long time is there for the picking, in good nick and priced reasonably is hard to put into words. It's mostly hard to put into words because I can hardly remember the feeling.

The vast majority of record shops have little in the way of anything different or away from the norm. I always know how poor a shop is going to be in the first five minutes of entering one. If the shop has no Cocteau Twins or Pixies, stuff that's can be easy to come by on the internet, there's practically no chance of finding any Dead Can Dance, Throwing Muses, Birthday Party or Clan of Xymox.

I don't just limit my searches when out looking to 4AD stuff. There seems to be an English vacuum in second hand goth, industrial or anything more alternative to Wonderstuff. It would be great to find a section with Front Line Assembly, Diamanda Galas, 1919, Ausgang, Sopor Aeternus and on and on. That would be a dream. But when a simple list as that is just a pipe dream what chance do I have to find any Cold In Berlin, Soviet Soviet or some of the other remarkable music that's around lately. Go online I guess

But I keep trying out shops and record fairs and the last two weeks have been fine examples of disappointment. The first fair was in Derby a couple of weeks ago. I had been to the fair once before and there was a guy with a stall that had mostly punk and new wave stuff, so I was eager to see if he had any new stock on. After over three hours in a record fair with about 7 or 8 traders with stalls, I didn't find a single item on my want list of nearly 900 items. I did pick up a few interesting little other items though including a Gary Numan LP, 2 Crime And The City Solution singles and a Shellyann Orphan single

At least I walked away with something. It is disappointing to still have the same amount on my wantlist, to find nothing at all for my 4AD collection is extremely disheartening when a record fair supposed to be the best place to find these items.

So I decided to travel a bit further affield a go to a record fair that was billed as "the biggest outside of London". Surely that would be what I was looking for. Advertised as 100 tables with traders from all over the country, attended by buyers from all over the world it sounded too good to miss. One of the things I always find funny about these fairs, is how late the traders turn up to the event. 2 minutes before doors open and traders are still wheeling boxes of stock into the venue, leaving you thinking "this is your trade, wake up earlier in a morning".

There may have been 100 tables (I didn't count), but there were only about 15 to 20 traders, three of which had been at the other fair in Derby just a week before. On asking they had no new stock since the week before. Then as usual there were the bargain basement traders. These have hundreds of CD's, usually mass bought stock that no-one can sell. I know even without spending hours looking that there's gonna be nothing in there. After about three minutes of walking two loops around the tables, I knew only one of them had any chance of anything remotely like what I was looking for. Still I persisted and stretched my patience as much as I could tolerate, knowing I would be writing this blog, and searched though as many of the traders stock as my willingness allowed. But my initial hunch was right, as aways. Only one trader had anything worth buying, the one I had picked out in the first three minutes and none of his stock hit any of the hundreds of items I was looking for, except one.

The NME Peel sessions compilation was the only find out of thousands of records. I did pick up Cocteau Twins and Birthday Party bootlegs as well as an Xmal Deutschland peel Session release, but none from my list. The bootlegs were quite recent and the Peel session was some years later after Xmal Deutschland had moved on from 4AD.

It is dis-heartening at times. I would have thought after this long that I would have picked up some specialised trader, eager to find the stuff I want. Instead I generally get "good luck with that" in a semi-sarcastic voice based on the experience of how rarely 4AD stuff is picked up and how quickly it's bought up. As much as buying online is nowhere near as satisfying as browsing through physical boxes looking for that special gem, it's the form I have to keep relying on.

As a finishing note and as mentioned before, I'm accruing quite a stock of duplicates again just wanting a good home. So watch this space as there are plenty more 4AD items to give away. Here's a sneak preview and you won't believe some of the items I have that just maybe you could own soon. Tell me if you recognise any...

...and as a last note Andy and I are back in the studio again putting together another song. After months of just not feeling it, Andy has managed to kick me into shape and we're composing again.

Until next time....guess the releases

Thank You Dear Reader, Thank You

I just had to post again.

Congratulations to Jez Smith in Florida who won the Greek pressing of the Cocteau Twins album Treasure on lovely vinyl, posted today to Jez. Thanks to Martin Aston for picking the winner as well. I put a list together of folk who entered the draw, numbered by the date and time order of when they requested to be entered. Martin Aston then gave me a random number and what a surprise, that number was 4 of course.

When I first started this blog I wondered if anyone would be interested in reading it, I guessed that with the power of the internet that I may find one or two like kinded people. More than anything, I wanted to make sure I stuck to this quest and the best way to do that was to make my mission public and more embarrasing if I ever was tempted to change my mind.

After seven months from starting this blog, I was estatic about getting 1000 views of my humble blog. I couldn't believe that there are enough folk out there interested in my crazy mission to want to read this.

4 years and loads of blogs later and I have over 950 related items collected and I'm expecting to be about half way through getting to the final target of acquiring every release by 4AD from the first decade from every country, in every format, inlcuding all the related compilations and pre-4AD signing releases. I still haven't began to look at putting a website together or even where to exhibit the collection in 2030, which is the main part of the grand plan.

The journey so far has been incredibly interesting, frustrating, fun, depressing, humbling and rewarding. Today has been a very rewarding day. Giving away a piece of 4AD history to a fan is part of the whole mission and makes me so very happy. If the mission is to exhibit my 4AD collection in order to make sure that the amazing art that 4AD released does not drift into obscurity, giving away a part of it fulfills that same mission. It's also a good day because.....

This morning this little blog reached 49,999 page views, then......

...........50,000 page views

I'm absolutely bowled over. Thank you so much for everyone that has taken time to read this blog, commented on it, entered for any of the giveaways or just given me moral support. I actually believe I can get another 50,000 over the next 4 years which is so far beyond any amount of interest I even dreamed of when I started this. So thank you to you all and please keep on reading, please keep on commenting and please keep your eye out for more giveaways.

The journey continues ..............

You bought it for how much?

It's been a long time since my last entry. Ah what can I say, I have no real excuses. But interesting things have happened on ebay this week. Three early Bauhaus test pressings went up for auction in the week and I watched with suprise and dread as the bids sky rocketed for them. Take a deep breath, if you have any of these on your radar...this could induce a wallet attack.

First up is a test pressing of the flexi-disc 7" of God In An Alcove. This was released in 1982 and was blue in colour and was part of the flexipop magazine that gave away a single with each copy of the magazine. The song came from their debut album In The Flat Field which was released under 4AD, so although released in 1982 after the band moved to Beggars Banquet, it still fits into my collecting criteria. On Discogs the test pressing for this release has sold twice in the last year, once for €15.00 (around £10) and again for $10 (around £6.40). These were sold in February and June of this year, so not so long ago (I can't believe I missed those).

The ebay auction finished at a whopping £180....ouch!

The three auctions were all from the same seller. All looked as genuine an item as they could, but I do always wonder how easy it would be to get the regular release and paste a white lable onto it. The next item was a white label test pressing of the 7" single Telegram Sam. I haven't seen a test pressing for this before, so I was quite eager to see if the bidding would stay in the sensible area or sky rocket like the item above also did. When going into an auction, I always think it best to think rationally beforehand of the absolute maximum you are willing to go to before you get involved with the bidding process, as many times a sort of primeval instinct takes over and you can easily convince yourselve that this is the only moment in your life that you will ever see this item for sale and start bidding accordingly. I judged that the item might be worth around £40, seeing as you can easily pick up the full release for a couple of quid. it was already at £45 by the time I found it listed....arse!

The final winning bid .....£205....what???

I know smart ass, this isn't the uk version!!

The final item, the one I could easily have arguments with myself over about how willing I was to push the spending limit on, was a white label test pressing of one of the first pressings of the 7" single Dark Entries. I have reviewed the versions I currently have here and it looked as though this could be the crowning piece as the matrices showed it either to be the first Axis version or the blue 4AD labels version. As with the Telegram Sam release, I had never seen a test pressing of this before. It was hard to know what this would be worth so as to set myself a reasonable limit. I actually thought £50 would be a reasonable upper limit, as this would very likely be the only test pressing of this release I would ever see. This is what you have to be careful of with auction sites such as ebay, you can so easily argue with yourself into bidding more and more and if you dont make up your mind beforehand about your upper limit and leave the decision until near the end of the auction, you can easily argue even more with yourself. The typical argument is, "wouldn't be a shame if it just went for £1 more than I was willing to go to" or "I'm losing, I'm losing". It's so easy to get drawn into a bidding war with someone. As usual the bids went through the roof on the final few seconds.

The winning bid .......£361.....!!!!!!!!!!!

Needless to say, I came away from the bidding empty in basket.

Following from my previous submission, I did promise further research into CD production and the ability to be able to spot newer prints from older ones. There were a few little things I spotted at the time, such as the change from the black print text on the CD to later having colour picture CDs. One very interesting piece of infomation was about the introduction of SID codes in 1994. These are 4 character codes on the inside ring, near the hole of the CD itself. These are usually marked with the letters IFPI followed by the 4 character code marking the mastering and replication source of the CD. Becasue this standard wasn't introduced until 1994, it's a very good identifier for later re-prints. Here is an official PDF which introduced the standard to the industry.

I have found that I have a number of CD's myself that I thought were original copies but have SID codes. This is a really useful piece of infomation for those trying to identify an original.

In the last few months, I toyed with a visit to the Netherlands in the autumn and the Utrecht International Record Fair. This has to be one of the largest record fairs in Europe and has been on my radar for many a year now, but I easily talk myself out of things. The typical argument with myself is how poor every other record fair has been and this was likely to be just as bad, but on a larger scale. But then if I dont give it a go, I can't really have an informed opinion can I? The window of oppurtunity passed me by and I managed to talk myself out of it, but my lovely, long suffereing wife persuaded me to perhaps have a more serious attempt to go next year. So there is a good chance I will go sometime soon. When I do, I will certainly report back.

For two reasons I have another giveway for anyone that fancies a slice of history. The first reason is the fact that it's been way too long since I gave anything away on this blog, I'm piling up quite a pile of duplications. The second reason is down the usual bumbling uselessness from a trader, making out they were selling a white label test pressing then sending the standard release,... numpty. I've had my money back and the trader doesn't want the item returning.

So I'm giving away a copy of a Greek pressing of the Cocteau Twins album Treasure on Polygram. If tens of thousands of copies of this album were sold in the UK, then thousands must have been sold around northern Europe and by the time the album filtered down to Greece I would not at all be suprised if the number of pressings were in just the hundreds. So in my estimation this vinyl copy is a rarity indeed. Not stupidly rare, but a lovely item to own none the less.

It also has those unusual Greek labels that seem to be either poor copies of earlier 4AD releases in the UK or left overs from the same period sent to the Greek manufacturers. Anyhoo, in the usual fashion, if you want to get your hands on this, just get in touch with me and I'm sure it will end up in a good home, I already have this anyway. Facbook, email, comment on this blog or carrier pigeon will do.

Thanks for reading as always