Ever wonder how to adjust your tone arm and other turntable setup chores? Look no further. Get the best sound out of your turntable, avoid unnecessary wear and tear on your records, and get all DIY with it.
We took a break to do a bit of travel including ALL the record stores in Portland, Oregon, but now it is time to update ye olde Turntabling inventory and get more of the most amazing vinyl finds up and available to you. I scour the earth looking for the rare, the weird, the hard-to-find, and I’m about to do a big update. Stay tuned.
1979 saw Goblin working on the soundtrack for this Italian film starring Jaqueline Bisset and Terence Stamp. Believe it or not, the title track was informed more by Burt Bacharach than prog, but the old classic proggy Goblin sound does rear its head on parts of this soundtrack.
What you see here is the setup for the Turntabling-curated Sexy and Scary Vinyl art show on the 5th floor of the Bridgeport Art Center (Friday June 20 2014 starting at 6PM). There are a LOT of vinyl records on display for this one-night-only art show, plus film trailers, music and more.
One question that has come up about the show and about Turntabling in general is whether we sell records (yes we do!) and where you can buy those records.
While we aren’t selling records at the art show on Friday (the show is all about the images, the album covers and the culture behind these albums and the films associated with many of them) we are happy to discuss the sale of these records and many others like them. Please feel free to drop a line with wish lists and requests for more information to:
We are actively looking for other venues to bring the Sexy and Scary Vinyl art show to–if you want this display in your record store, special event, art space or other venue, do get in touch at the same address.
From time to time I ask myself just what it is about vinyl records that is so appealing. A lot of the time the answer for me has to do just as much with the artwork and the presentation as the music itself.
I am not anti-digital. I think downloads have really helped push vinyl–the physical artifact–to a new place of importance in music culture. There’s something about the larger artwork, the inclusion of liner notes, the gatefold sleeves and the physicality of the record that gives it a lasting appeal.
You could literally do most, of not all of this digitally–providing a large digital poster image buyers could download and print would be fab. Ditto liner notes. But for some reason, the seeking and finding is an important part of the vinyl buying experience. You can hunt and peck online for digital downloads all day, but nothing beats the thrill of flipping through the stacks and seeing that album cover that just gets you interested for no good reason. Or for VERY good reasons.
Shopping online is pretty utilitarian. Going to a local record store, listening to the music playing on the overhead, browsing the magazines, overhearing conversations about new music…this is almost becoming (if it hasn’t already) date night activity. It’s definitely a great way to kill an hour or so when you’re waiting around for something else to happen…but for me going to the record shops is always a main event type activity.
Digital is great and convenient. It’s not the same listening experience with vinyl–the involvement of cleaning the record, putting it on the turntabling, turning it over to play the B-side, looking at the artwork…doing this for an hour or two a night requires more attention. It’s like cooking at home instead of ordering delivery. You get your food in the end, but that hands-on experience makes it more…real somehow. Not that downloads are plastic or fake. They’re easy and fun. But not special, not on their own.
Those digital services that encourage mixtape and sharing amongst friends/subscribers have the right idea–making music an EXPERIENCE is probably the key to selling more digital downloads. Vinyl has all that built-in.
That coupon you see here is from United Pressing, the record plant in Nashville Tennessee. When Ars Technica reported earlier this month that United Record Pressing was expanding its operation to move from 30 pressing machines to 46, it included a tantalizing factoid about the growth of vinyl and how record sales are recorded and reported:
Nielsen’s SoundScan reported that 6.1 million vinyl records were sold in 2013, up from 4.6 in 2012 and under 1 million in 2007. But as The New York Timesreported last year, “manufacturers, specialist retailers, and critics argue that SoundScan’s figures represent only a fraction of actual sales” and perhaps only account for as little as 10 to 15 percent of total vinyl sales, because Nielsen tracks records sold, rather than records pressed, and many vinyl manufacturers don’t print bar codes on their record sleeves, so sales from independent shops that don’t report to Nielsen don’t get counted.
If you have ever wondered about the hows and whys of vinyl records as a viable business–and I don’t just mean selling them–that quote says a hell of a lot. For most businesses, tracking sales and recording related, relevant data is a big part of critical decision making that helps the business survive. But what can you do when the most basic business intel is incomplete?
Well, if you’re a record vendor, the answer is “make a profit”. Vinyl ain’t your typical MBA-run industry. (It’s actually pretty lazy writing to classify an entire marketplace as “vinyl”. But you know what I mean–the business of recording, pressing, selling and promoting music on a physical record.)
That’s actually one of the most appealing things ABOUT vinyl–the fact that a nice little chunk of the business isn’t subject to the usual corporate nonsense. Of course, there are people who will try to shove the square peg into the round hole and force our beloved vinyl business into some kind of rinse, lather, repeat model. But thanks to indie retailers and what seems to be a general allergy to that sort of thing among musicians and record sellers alike, we keep getting news stories like the Ars Technica piece.
Though I will say, bar coding DOES make tracking your inventory a hell of a lot easier…
Our pricing won’t change, but do know that the entire inventory is being sold as a fundraiser for the art space so I and my art partners can continue to make dark, unusual, and yes, vinyl-related art there are share it with you here and at the StudioLab official site.
Thanks as always for your continued support and look for many more updates to the Turntabling inventory over the coming days.
Can intense jangle pop brighten and revive the world? Testing this question with Words of Wisdom and Hope on the turntable is great place to start the research. Teenage Fanclub and Jad Fair introduced a collection in 2002 of mighty love songs. This album pours out the phrase turns that bring the goods when it comes to making the listener feel gushy all over.
You may not be in love, but you are loved. Here’s the proof.
I don’t know much about either the band Teenage Fanclub or Jad Fair as separate artists. Crush on You is the first cut I heard and I really enjoy where it goes.
Jad Fair’s ‘singing’ is more of a talking to the loved one (you). Listening to someone so confident in the adoration department is initially unnerving. Millions of song say, “You’re interesting and I want to know you”. This song states, “I know you better than you know yourself. You’re the most and everything is over the top because of you.” Any counter arguments will not be addressed in this song or the rest of the album. Bask in this, only the facts over some sweet music about your greatness.