A Quote by Tim Gane
My favorite record shop was called Recommended Records, in South London near where I lived - they did all the original Faust reissues that came out in 1979, and they also did a lot of Sun Ra stuff. They were a great record shop.
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I was sometimes doing DJ stuff and working in a record shop in Tokyo. That place was a very unique shop. It was the place lots of DJs came to get used and rare records. It had a lot of jazz, funk, Latin and seventies rock.
I know someone who works in a record shop where I live and I'll go in there and he'll play me "Have you heard this single?". Singles by, er the group called The Tights, so an obscure thing... and a group called, I think, er Bauhaus, a London group. That's one single. There's no one I completely like that I can say "Well I've got all this person's records. I think he's great" or "This group's records" it's just, again, odd things.
Most people assume that a record shop's success lies in selling records. In fact, Virgin's success both in mail order and the record shops lay in skill at buying records.
Red House Painters were doing cover songs before our first record deal. I remember live shows where we did an AC/DC song; I think we did 'Send In The Clowns' by Judy Collins. We did 'The Star Spangled Banner,' which came out on our third record.
The high streets I remember best were Seven Sisters Road in north London and then sunny Peckham in south London after we moved there. They were where my parents used to shop. They were great, part of being a teenager.
One thing that did get me into a lot of different types of music was when I was very young, the local record store went out of business and they were selling off all the vinyl. I remember going in - I was probably 16 or 17 and I'd just gotten a record player as a present. It was like hitting the jackpot: all these records for $3 apiece.
A good coach will come in ra, ra, ra and rejig the whole set-up. That might work for a year or 18 months but isn't sustainable. A great coach has the ability to get the best out of his players without the ra, ra, ra stuff.
I don't shop just high-end, honestly. I shop at Zara, I shop at Topshop, I shop at H&M. I shop everywhere.
I made a record in 1996 called 'Animal Rights' that was a very difficult, very dark punk-rock record. Of all the records I've made, it's my favorite one. It's also the one that got the worst reviews and sold the worst.
Every record I have done was because I was a person's friend. The only time we did not continue to be friends was if the record did not become a hit. If it did, we became great friends.
The first record was basically a quick, fast record. The second record, we were going for more of a poppier sound - like a heavy pop sound. For 'Rocket to Russia,' we'd sort of reached our pinnacle. We'd gotten really good at what we were doing, so that's like my favorite record - that's a really good record. It's just great from beginning to end.
When radio stations started playing music the record companies started suing radio stations. They thought now that people could listen to music for free, who would want to buy a record in a record shop? But I think we all agree that radio stations are good stuff.
My school music teacher, Al Bennest, introduced me to jazz by playing Louis Armstrong's record of "West End Blues" for me. I found more jazz on the radio, and began looking for records. My paper route money, and later, money I earned working after school in a print shop and a butcher shop went toward buying jazz records. I taught myself the alto saxophone and the drums in order to play in my high school dance band.
Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer.
If a shop has a lot of sections I'll end up putting my record above the James Blunt CDs since he ripped off my bloody artwork and he's selling millions of records! I try to get people to buy mine accidentally.
When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.
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