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Hawaiian Paradise

This week, my crate digging journey finds me scouring through boxes of old records in the charity shops of Newcastle, with the aim of finding music that would mirror the beautiful weather we've been having. In the British Red Cross charity shop on Nun Street, I discovered Hawaiian Paradise by Wout Steenhuis and the Kontikis for just £1. The photograph on the cover of a sandy beach with blue skies and palm trees was instantly inviting. Released in 1981 through Warwick Records, Hawaiian Paradise promises us to fly us out 'to the Hawaii of all our dreams'.

From examining the liner notes, I understand that Wout Steenhuis – who is described as 'the world's finest exponent of Hawaiian music - was born in Holland and resided in England until his death in 1985. The liner notes also mention how many forms of popular music were banned during Germany' occupation of Holland. However, Hawaiian music was not included in this ban, inspiring Steenhuis to build his own Hawaiian guitar and learn to play. Music bans such as this are still an issue that resonates today. Just a few years back, the Republic of Mali was subject to a music ban by Islamic extremists, which is explored in the documentary They Will Have To Kill Us First. You can view the trailer here:

From the twenty-four tracks included on Hawaiian Paradise, there are a handful that stood out to me in particular. The first of these being 'Tiger Shark'. Although being one of the shorter tracks on the album at just under two minutes long, I was instantly hooked by its intriguing, upbeat melody. Following this, the soothing vocals by Tracy Millar and Jean Gilbert on 'Farewell Hawaii' brought a relaxed vibe to this particular collection of songs, as well as a certain level of romanticism with the repeated lyrics 'I do love you'. As this album is not very vocal-heavy, Millar and Gilbert's elegant harmonies are a bonus.

Side two opens with the cheerful and joyous 'Hawaiian Wedding Song' – another of the shorter tracks off the record. Although the version recorded by Wout Steenhuis and the Kontikis is instrumental and rather upbeat, I would like to share a more gentle and unrushed rendition of the song by Jim Reeves, which also includes the original lyrics to the song. As a music student, I always find it interesting to see how different artists interpret songs of other genres that they may not be familiar with. I believe Reeves' cover of this song is divine:

Listening to Steenhuis and the Kontikis' Hawaiian Paradise has been a perfect way to spend a sunny Wednesday afternoon. With each track presenting a beautiful combination of tropical elements and instruments such as Hawaiian guitars, vibraphones, marimbas, flutes and ukuleles, this record is an effortless collection of 'Golden Hawaiian Guitar Greats'.

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Kashmir Traditional Songs & Dances – Volume 2

My most recent discovery is Kashmir Traditional Songs & Dances – Volume 2, which I purchased for £5 from Empire Records in Newcastle's Grainger Market. I decided this was going to be the latest addition to my collection as it is a style of music I am familiar with after studying Indian Music in Practice in my second year of university. Whilst learning to play the tabla for this subject, I realised just how intricate Indian music can be and this made me understand the importance of riyaz (practice).

Me doing my daily riyaz in preparation for my Indian Music assessment last year

Since discovering a new appreciation for Hindustani classical music during my time at university, I have been eager to explore different types of Indian music, so discovering the Kashmir vinyl at Empire was a great moment.

From inspecting the liner notes, I understand that the album was recorded in Srinagar and Sagi Dangarpura by David Lewiston, and released in 1976 through Nonesuch Records. The cover for Kashmir consists of sultry golds and reds, and we see a man with a long, thick beard, wearing what seems to be traditional Indian dress, raising his hands towards the sky. It is unclear who the man is, but he has a happy expression on his face, which I anticipated to be a reflection of the atmosphere the music on the album would create. The liner notes present us with some important details of the Kashmiri life, stating that although Kashmir is seen as a place that possesses 'sheer physical beauty', it has been divided by foreign rulers, meaning that the land was split between India and Pakistan. This historical information may enable us to understand how this collection of music represented Kashmir back in the 1970s when it was released, as well as in the present day.

Something I have found unusual while researching and writing about this album, is that many of my YouTube searches to find musical examples to include in this post have been unsuccessful. Instead, I have found different interpretations of certain tracks that I would like to share. This is 'Soofiana Kalam' which, according to Britannica is 'devotional music of the Muslim mystics known as Sufis’. On the record, this track – an evening melody which consists of a rhythmic pattern in 16 beats – is instrumental. The instruments on the track consist of a santoor, and the dukra (which are quite similar to the tabla). However, as you can see from the video shared below, Marghoob Amdani presents us with a wonderful vocal rendition of 'Soofiana Kalam':

I feel that listening to this album is effective in taking the listener on a journey through the highs and lows Kashmir has faced. From the very first track 'Masa lai tiri meejganai ta loo loo' (which translates to 'Pray, do not throw your darts of love at me'), through to love songs such as Sarang Solo and Rabab Solo, we are given the opportunity to experience Kashmir in trying times, and in times of hope.

Some of the most enjoyable moments when listening to this album were the various wedding tunes which can be found on side two of the record. Tunes such as Khandra Dhun by Ghulum Muhammed Butt & group brought a new lease of life to the album as a whole, with the liner notes describing it as 'traditional Kashmiri folk opera', which seems like a rather interesting concept. Listening to songs such as Khandra Dhun – which are played with surnai (folk oboes), nagara (kettledrums) and a dhol (two-headed barrel shaped drum) – was a highlight for me, and I believe they brought energy and buoyancy to an already beautiful collection of songs.

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The Sweet Sounds of Tijuana

On a beautiful sunny day in the North East, I decided to head down to Beatdown Records – an independent record store hidden away in Newcastle city centre – in search of new world music gems. After a while browsing through the 'world music' section, I decided to pick up The Sweet Sounds Of Tijuana by The Border Brass for £4. The cover is vibrant and seductive, showing a portrait of young, pretty woman posing, surrounded by brass instruments. Released in 1970 through Stereo Gold Award, this record promises to bring us 'the sound of the border sunshine'.

From the very first track 'This Guy's In Love With You', the record does not disappoint, creating a relaxed and easy atmosphere. With Latin Jazz versions of songs from various movies, such as the 'Love Theme From Romeo And Juliet', the Mexican Border Brass Ensemble bring a new lease of life to these compositions. Through their lively and spirited arrangements, the ensemble allows us to be transported to 1960's Latin America. Included on side one is ‘Galveston’ – the 1969 protest song written by Jimmy Webb, and made popular by American singer and guitarist Glen Campbell. Here you can listen to a wonderful live version of ‘Galveston’ by Campbell:

We are eased into side two by 'Raindrops Keep Fallin' On My Head', an upbeat and jolly version of the 1969 song, originally written for the motion picture Butch Cassidy and the Sundance Kid.  Following this, we hear my personal favourite off of the record, Midnight Cowboy, taken from the original soundtrack of the movie of the same name. The track is emotive, and for me, brings a sense of delicacy to the album as a collective. In comparison to this lush jazz version, the main theme song from Midnight Cowboy, originally recorded and released in 1969, is a harmonica heavy piece with dulcet tones:

The closing track of 'The Sweet Sounds Of Tijuana' is 'Guantanamera' – a term used to describe a woman from Guantanamo. The song is arguably the most well known Cuban song, and carries a sense of patriotism, especially when the words of José Martí's poem 'Guantanamera' are sang along with the accompaniment, such as in Pete Seeger's 1963 rendition. The instrumentation on The Border Brass version is bold and proud, and concludes the album with bright and infectious melodies, a theme that we have experienced consistently throughout The Sweet Sounds Of Tijuana.

All in all, I am quite satisfied with this purchase as it has enabled me to experience music I am unfamiliar with, which is one of my main goals for this project.

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My First Find

On a fresh spring day in the small town of Towyn, North Wales, I decided to head down to the local car boot sale in search of the first world music album to begin my collection. After wandering past the various stalls selling old clothes and bric-a-brac, I stumbled upon a stall covered in small cardboard boxes containing old CD's, DVD's and PlayStation games. As I flicked through the boxes, I felt a twinge of disappointment as all I seemed to see were modern cheesy pop records – Britney Spears, Katy Perry, Jennifer Lopez. However, it wasn't until I dug a little deeper that I discovered an album entitled Latin Dreams by The Mantovani Orchestra. I was instantly attracted to its sultry, romantic cover – a picture displaying the silhouette of a man and a woman stood before the ocean at sunset – and the sense of exoticism from song titles such as ‘Tico Tico', and 'Besame Mucho', which translates to 'kiss me a lot'. I purchased the CD for the bargain price of just £1 and headed home.

Latin Dreams was compiled by and released through Elap Music Ltd – a French independent record label – in 1994. After only hearing the first few seconds of the opening track ‘Cielito Lindo’ (which roughly translates to 'lovely sweet one'), I could instantly tell that this was like no music I'd ever let myself experience before. The warm classical embrace of The Mantovani Orchestra is a far cry from the guitar heavy, classic rock records I'd been submerged in as an adolescent. Even from this very first track, a feeling of calmness overtook me. The strings took me somewhere else.. Somewhere that was warm and welcoming. Take a listen to The Mantovani Orchestra’s version of Cielito Lindo here:

After hearing this beautiful version of ‘Cielito Lindo’, I decided to explore other renditions of the song, and came across this, by Italian Mandolin Torna A Surriento:

https://open.spotify.com/track/2rbUaarjadZWHDFKNCBqWL?si=dVKyEw4yRbuzL4RUE5Ci6w

The fourth track off of the album, entitled 'Siboney', introduces us to a more uptempo, lively arrangement. Taking its name from a town in Cuba, 'Siboney' is light-hearted, and oozes playfulness – the type of song that perfectly allows you to imagine yourself sipping Sangria on a balmy day on a lush Spanish island. My personal favourite off of the album, 'Siboney' could bring anyone's toes to tap and hips to sway with its honeyed melody and whimsicality.

The album proceeds to transport us through various emotive pieces, such as 'Maria Elena' – originally composed as a tribute to Maria Elena Peralta, the wife of Mexican President Emilio Portes Gil. 'Maria Elena' is a soothing and beautiful track which brings an element of sentimentality to the album. Romantic vibes are brought to the album by 'Besame Mucho'. Originally composed in 1940 by esteemed concert pianist Consuelo Velázquez Torres, the track is said to be the most sung and recorded Mexican song in the world, and is also one of the most celebrated boleros.

The final track of the album, suitably named 'Adios' ('goodbye'), concludes the album with an arrangement that evokes feelings of tranquillity and contentment, and in my opinion, brings closure to a wonderful piece of musical work.

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The Fascination of Record Collecting

Before I begin my crate digging journey, I'd like to explore the reasons why so many music fans have become dedicated to the art of collecting vinyls.

Although the physical sales of vinyls initially dropped in the age of the iPhone and with the introduction of free streaming services such as Spotify and Tidal, vinyl and CDs sales have been said to have gradually increased in recent years, with The Register stating that vinyl sales have reached a 25 year high.

Even though streaming services such as Spotify are attractive to the consumer for being so cheap (arguably too cheap), there are many reasons to suggest why music fans willingly spend their hard earned cash in exchange for vinyl records;

Vinyl offers a higher quality sound

There are two types of compression – lossy and lossless. When lossy compression is used in MP3 sounds, the quality of the sound is reduced, due to the fact this type of compression has to continuously delete any data that isn't necessarily needed in order to create the highest amount of file storage. On the contrary, lossless compression is used with vinyls. Due to the use of the lossless type compression in the creation of vinyl records, a higher quality sound is ensured.

Tangibility

For some music lovers, the tangibility of the vinyl record may be more appealing and satisfying, as physical items are sometimes considered at a higher personal value than something that has just been downloaded and cannot be physically held.

Aesthetic appeal

Although records are usually made from solid black vinyl, some artists do break the mould by experimenting with different colour vinyl and creating unusual and imaginative covers (see examples below) which can bring more excitement to your record collection.

Top left: Jack White - Acoustic Recordings 1998 - 2016. Released on September 9th 2016 through Third Man Records

Top right: Herbie Hancock - Sextant. Released March 30th 1973 through Columbia Records

Bottom: Space Echo - The Mystery Behind the Cosmic Sound of Cabo Verde Finally Revealed! Released May 26th 2016 through Analog Africa

Creating musical relationships

There are a few ways in which we are able to create relationships through record collecting. Firstly, records are often gifted and passed on through relatives, therefore giving the receivers a chance to experience and explore music from their parents/grandparents' era. This opens doors to new musical styles and artists we may not have known of previously, and can encourage us to create personal experiences and memories through the love of the same music. Secondly, through collecting records, it can bring a feeling of closeness to a particular artist. Many artists often release special items such as limited edition boxsets and remastered versions of older albums etc. and if collector is dedicated to said particular artist, they could end up with a collection of hundreds (maybe even thousands) of their records.

Finding treasure

Like myself, many people start collecting records with the hope of coming across a rarity - a musical treasure. Most record stores do not generally stock up on chart music, and will often hold vintage records at a reasonable price. Taking the time to scour through boxes of vinyls at your local record store and coming across an unusual or rare find brings a feeling of fulfilment.

Bearing these reasons in mind, it is easy to see why so many music fans dedicate their time and money to expanding their record collections. Personally, I am excited to begin my journey as an avid collector of world musics. 

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Introduction to the Crate Digging Journals

Welcome to 'the crate digging journals' – a blog dedicated to the art of crate digging.

As a final year music student at Newcastle University, I have decided to create this blog as a way of exploring and discussing the practice of 'crate digging' – a term used to describe the practice of researching and collecting scarce and unique music in the shape of secondhand records. Over the next 6-8 weeks, I will spend my spare time rifling through secondhand vinyls (and CDs) at car boot sales, charity shops etc., in the hope of building a collection of rare world musics, as well as analysing and reviewing my finds.

I became inspired by this topic after a lecture entitled 'Crate Digging, Compilations and Outernational Music' for my Global Pop module, and believe the creation of this blog could help me gain an important understanding, as a music student, of how these different media can be transferred from different cultural contexts, and how the remastering and redistribution of these media have an impact on the modern audience.

The aim of this blog is to explore musics from all over the world, and be able gain an awareness of how we experience otherness through the music, and how, as listeners, we have the opportunity to encounter different cultures and locations through recordings.

Also included in a future post will be a debate we discussed briefly in one of our seminars, to do with the ethics of companies such as Sublime Frequencies, and questioning the extent of which original artists should be compensated when their music is compiled and re-released.

For any other beginner crate diggers out there, here are two articles which are very helpful when beginning your new hobby:

How to Cratedig by Ben Beaumont-Thomas 

A Guide to Crate Digging by Steve Kouta