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Archive for the ‘USB turntables’ Category

For the past seven weeks, I’ve been using a USB turntable to digitalize our old vinyl records. So far, I’ve done 41 LPs, with about another sixty to go. We haven’t played the LPs for at least fifteen years, so the process is a rediscovery for me – and proof yet again of how, when the dominant recording medium changes, some things are left behind.

Looking through the list of albums on the music player (a Sansa clip, which, incidentally, is much better buy than an equivalent iPod), I’m fascinated at the glimpse of my past. When I started, I wondered whether my tastes would have changed, and whether I would find some of the music that (to paraphrase Frank Zappa) was the aural wallpaper of my youth would now seem callow or outdated.

But, to my relief and considerable satisfaction, the fear was largely unfounded. While songs that call for the freedom of Nelson Mandela, or refer to Solidarity in Poland obvious refer to specific time periods, on the whole the musical choices of my youth manage not to embarrass me, although I do think that my taste has broadened and expanded since I listened to this music regularly.

Part of the secret of its longevity is that intelligent lyrics tend to weather the years better than trendy musical styles. But the main reason, I think, was that when I was a young man, the folk music that formed the bulk of my listening was in the middle of a renaissance full of passion and the fusion of traditional and contemporary that produced innovative and exciting music.

In fact, far from being embarrassed, I wonder how I could ever have stopped listening to some of these albums. For instance, my music player is currently loaded with the last studio album by the Scottish super group Silly Wizard, Michelle Shocked’s “If love was a train” EP, two albums of klezmer music by Klezmorim, an album by Breton harp genius Alan Stivell, another by the Scottish harp duo Sileas, another by the Quebecois group Barde, Malcolm’s Interview’s great punk folk album “Breakfast in Bedlam,” early works by OysterBand, Pete Morton, live albums by the Corries and Steeleye Span – I could go on and on, but I think I already have. Treasures, all of them, although some are considered modern classics and others are entirely forgot.

But by sheer number, my greatest rediscovery has to be Leon Rosselson, a sort of farther-left version of Tom Lehrer, and his sometime fellow traveler Roy Bailey. Eleven of their albums, seven of them made together, are now on my music player, and I can still see why. Bailey, a gay leftist with a strong sense of activism and tradition has one of the great voices of British music, and his covers of songs like “The Hard Times of Old English” or “If They Come in the Morning” resonate in my memory with the least encouragement.

However, if anything, I appreciate Leon Rosselson’s savage wit even more (if that is possible). Even now, I can’t resist Rosselson in the persona of a British tabloid journalist who prides himself on decency and moderation, working himself up into a satirical frenzy ending with:
What we say is hang the muggers,
Deport the blacks, castrate the buggers,
Press the button, drop the bomb on
Peace campers at Greenham Common.

Similarly, after looking in the first person at the various people who would be involved in the decision to use nuclear weapons passing the buck, Rosselson concludes: “So if the end to all creation is global suicide / There’ll be no one who is responsible, ‘cuz no one will decide.” Or look at his parody of the British Labour Party’s song, written in the Sixties, but still appropriate today:
We will not cease from mental strife till every wrong is righted,
And all men are equal quite, and all our leaders knighted;
We are sure if we persist, to make the New Years’ Honours List,
Then every loyal Labour Peer will sing “The Red Flag” once a year.

But I think I like best “The World Turned Upside Down,” his history of the Diggers of the English Revolution and their declaration of freedom:
We work, we eat together, we need no swords
We will not bow to the masters or pay rent to the lords,
Still we are free, though we are poor,
You Diggers all stand up for glory, stand up now.

I remember the time when that song was an anthem for me, and, hearing it again in the original after enjoying covers by Billy Bragg and the Oysterband, I find that it becomes so again.

I know, I know. You haven’t heard of half these names, and most of the other half are mostly obscure to you. But that is my whole point. Just because something is old doesn’t make it worthless and justifiably discarded. Sometimes, things that are old are classics, or deserve to be.

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I’m old enough to have live through four formats for home music: vinyl records, cassettes, CDs, and computers and portable devices (I’m excluding 8 Tracks, which I never used). With each change of formats, some of my music has been left behind, especially since much of my music collection is from small distributors, some of which no longer exist. That’s why I was delighted to buy a USB turntable recently. As I convert my old records to electronic formats, I’m rediscovering music I haven’t heard for years.

Of course, I could have dusted off our old turntable, and jacked it directly into the computer. But, as I wrote in a how-to article I submitted yesterday to Linux.com, a USB turntable has features that, twenty years ago, would have cost ten times what I paid now. The result is a vast improvement in sound-quality, including a reduction of all except the worst hisses and squawks from damaged vinyl.

On a personal level, my first recordings have been a sustained bout of nostalgia. Ordinarily, I regard nostalgia as a middle-aged disease to which I refuse to succumb, but what I’m recording is the music of my youth. If, as Frank Zappa said, the music that you listen to is aural wallpaper, then the first vinyl I’ve converted is a direct reflection of what I used to be.

The closest these first recordings come to Top 40 are several albums by Alain Stivell, the virtuoso Breton harpist, and some early releases by the folk rock-group Steeleye Span. Otherwise, most of them are by solo singer-songwriters. Most, too, have a more or less leftist political perspective, although it’s sometimes covert. They include, for instance, Pete Morton’s first album, Frivolous Love, a couple of albums by the Australian singer Eric Bogle, early albums from OysterBand when the group was still in the process of converting from a folk dance band to the more activist group it is today, and lots of satire and political commentary from the English songwriter Leon Rosselson.
I see several common threads running through this list. First, most of these artists pay a lot of attention to the words, something I still value in music today. Ditto the political perspective.

But the strongest influence on me, I think, is that all of these performers insist on never letting their convictions dominate. They aren’t just activists; the music is as important to them as their messages. Just as importantly, they deliver their message with a good deal of humor and wit. Looking back, I think that their example has been as important as any literary influence in determining the sort of writer I would like to be.

So far, I’m enjoying being re-introduced to my young self. I find him naive and short-sighted, but not entirely unlikable. I wonder what I’ll think a few hundred recordings later, when I finish converting all my old music?

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