The Vancouver Crate Digger Mining Buried Music Gold | The Tyee
Originally, the semi-annual Record and CD Convention was For its 20th anniversary, The Wheat in Barleyplays White Rock's Coast Capitol. Sunday, February 15, Doors open at am. St. Catharines Record Show - Holiday Inn Parkway Convention Centre, St. Catharines, Ontario . Main Street Vinyl Record Fair - Heritage Hall, Vancouver, BC - General Admission $4. 18 reviews of Krazy Bob's Discount Tapes Records & Cd's "Krazy Bobs. I had just driven from North Vancouver, a 1 hour trip in traffic, to riffle through the vinyl collection in . 3/1/ This place used to kick me out when I was a bored year-old looking for I saw these guys at the Record Swap meet a few weeks ago.
Moving on to jazz greats like Thelonious Monk, Eddie Harris, would leave me looking to modern rock and hip-hop to round out a journey through my record collection. Listening to the album all the way through a few times, I felt that what was once a familiar performance had a rich detail that was neither harsh or brittle.
Vocals were full of character and focused in what would be a rare occasion of sound-stage for such a bargain set of cans. This glow and tone I usually associate with female vocals, but on display here, is more ghostly in the good way. Acoustic bass and tenor vocals on vinyl are thrilling in every way possible. My previous experiences with this album on digital border embarrassment.
I crank the volume and reach for the live acoustic performance and among the silences, I notice the slightest fault, it is a noise. I lift the needle and crank the volume further.Beat Swap Meet - Dallas, Texas - record show
A subtle motor noise that I know I would not encounter unless otherwise cranking this album out to its punishing hilt. Moving the player from one home outlet to another did present some improvements in noise performance, but none eliminated it completely. Many said, it looked serious before even hearing it.
The Vancouver Crate Digger Mining Buried Music Gold
When demoing it with a system I had in for review in the spring ofmany were shocked to learn what great sound their own vinyl contained. I urged attendees to bring their own records and listen first hand to what they already had in their possession.
Read more about those experiences here: Of course, they would be wowed, but I felt the VPI Player was good enough to impress those who work with turntables for a living and had never walked away from vinyl in the first place.
During our spring The Vinyl Emporium: Being one table short, I jumped at the opportunity to insert the review sample VPI Player into the mix, without know exactly what would happen. This could be heard on the house speaker system, but to a greater extent through the Sony headphones running on the mixer.
I prompted Chico to give the built-in headphone amplifier of the Turntable a listen, as it may prove better than the mixer being used to DJ the event. Shaun Jermaine Smith also of Neu Romance commented that the VPI Player was bringing a richness to the bass that most professional turntables render in a more hollow way.
Soon after spinning a few 33s and 45s, all came to the conclusion that the VPI Player was built like a tank and spirited with a soulful sound. It straddles this murky line between turntable and all-in-one. I say that because of its built-in headphone amp. When has a turntable like this been delivered from a serious player in the hi-fi game? The VPI Player could be a solid endpoint for some buyers.
As I would not scoff at anyone who decided that the Player was far enough down the rabbit hole. As young indie music fans slowly filled the small venue, Howes set up two turntables and a mixer, and began selecting songs from a stack of about 45s, seven-inch and inch singles and LPs.
Most of them were hard-to-find obscure gems from the massive vinyl trove that fills his rented studio-loft. Early in the evening, Howes played some early dub music from Jamaica by Prince Buster with plenty of reverb and echo.
Next was a calypso version of the theme song from the hit movie Guns of Navarone. Then Howes switched gears, playing a song most Canadians have never heard, but which he believes belongs in this country's musical canon: The song by Thrasher, who was stripped of his culture by the residential school system, is a tragic fable about the cultural dislocation experienced by generations of aboriginal people in Canada.
To read Doug Ward's short profile of Willie Thrasher, go here. Aboriginal Folk, Rock, and Country —, a critically-acclaimed album assembled and curated by Howes in collaboration with Seattle-based reissue label Light In the Attic Records.
Native North America is a startlingly fresh collection of tracks recorded by Canadian aboriginal musicians in the s, '70s and well into the '80s. These indigenous artists, often based in remote communities or reserves, used global pop -- folk rock, blues, country-rock and garage rock -- to explore their own cultural roots, and to simply rock out.
The songs are full of grief and exuberance. The songs on Native North America contain personal stories that "have shaken me to the core," said Howes.
Vancouver Vinyl Record Show | The Breeze
Over time I became passionate about it and felt people should know about it. But there is so much more to Canadian music," said Howes. Let's hear stories about aboriginal musicians like Willie Thrasher.
- Vancouver Vinyl Record Show 2018
- Talking vinyl, discs ahead of Vancouver's Record and CD Convention
Their music is equally stirring. Rolling Stone Magazine praised the compilation for "illuminating a stash of music that's sweeping, under-appreciated, barely documented and surprisingly close to home.
VPI Player Review | The Millennial Audiophile
Exhuming lost classics Howes is a crate digger, an obsessive collector of vinyl records. The term comes from the way vinyl music is often stored in milk or produce crates.
He's a music geek who became a cultural anthropology sleuth, relentlessly mining for buried treasure. Over the past 15 years, Howes has dug deep for vinyl in messy record stores, flea markets, weekend swap meets, dusty thrift stores, rummage sales and in public and personal music collections. Not content with the vinyl available in Vancouver or its suburbs, Howes regularly hit the road, searching for marginalized music in cities and small towns across the country.
It was more personal and more intimate. He looks for songs that are authentic and rarely heard -- and then he goes: Howes' interest in aboriginal music began about 15 years when he was on the lookout for musicians recorded on the now defunct imprint Summus, which had recorded one of Howes' favourite reggae artists, Jackie Mittoo.
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He came across the debut album on Summus by Mi'kmaq singer-songwriter Willie Dunn. So I began checking out his music and any other album by aboriginal musicians I came across. I'd never heard this kind of heavy rock from the northern regions before. He pitched the idea to Light In the Attic and they agreed. The label now considers the album the most important re-issue it has ever released. Hear the album's opening acoustic folk track, "I Pity The Country" by the Montreal-born Dunn, and you quickly realize why Howes devoted the last five years putting this album together.
Dunn's voice is as eloquent and deep as Johnny Cash or Leonard Cohen -- and the lyrics are scabrous. Straightaway, the song grabs your attention. And the mind of a man, who thrives on hate.