Recorded music history books
For those books that are available as print-on-demand and/or as digital editions, the links below take you to the Lulu website product page. For those early few produced as physical books, these link to a page where payment can be made via PayPal (you do not need a PayPal account).
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This is the winner of Best Discography in the 2022 Association for Recorded Sound Collections Awards for Excellence (Best Historical Research on Record Labels category)
Updated and Expanded 2nd Edition - forewords from Monty Python's Michael Palin and String Driven Thing's Chris Adams.
Tony Stratton Smith’s acquaintances have said he named his record label after what he himself had in abundance, χάρισμα – an extraordinary power and appeal of personality with an innate ability to inspire a large following. His vision led to Charisma becoming home to several uncompromising and ground-breaking progressive rock bands, a maverick classical conductor, a cross-dressing Australian satirist, a cult TV comedy combo, a sports commentator or two, a singing school teacher, a well-known psychoanalyst, the Poet Laureate, and more. Strat, as he was known, then got it completely wrong in music industry terms by caring about his acts. The rest, as they say, is history. In the Charisma Disturbance sleeve Tony Stratton Smith said, “A record label is the sum of its artists”. With Charisma, however, it can be argued that the record label was the sum of its owner. This book celebrates Stratton Smith’s vision to sign to Charisma “anything good of its kind”, which led to its nurturing such disparate talents as Genesis, Van der Graaf Generator, Lindisfarne, Monty Python, Clifford T. Ward, Sir John Betjeman, Hawkwind, Vivian Stanshall, Malcolm McLaren, Peter Gabriel, Gregory Isaacs, Trevor Billmuss (a glorious little LP!), Brand X, Steve Hackett, Joseph Eger, Gary Shearston, and lots, lots more.
Here we are now in 2021 and the updated and expanded 2nd edition includes:
Here we are now in 2021 and the updated and expanded 2nd edition includes:
- Listings of all known UK LP and single releases from 1969 to 1987
- Details of original label design and advised release date for the majority of records
- The most comprehensive listing of cassette and 8-track releases published
- A look at Charisma Books, Zigzag magazine, and Charisma Films
Nominated for the 2022 Association for Recorded Sound Collections Awards for Excellence (Best Historical Research, Blues category).
This is a fellow traveller to Bristol Folk and The Saydisc & Village Thing Discography (see below) and focuses on the Bristol blues scene (with a short history and snapshot of the 1960s national UK blues scene) and the British and American blues records released by Saydisc, Matchbox, Sunflower, Kokomo, Highway 51, Ahura Mazda, Village Thing, Flyright-Matchbox and Matchbox Bluesmaster.
In 1967, the fledgling Bristol-based Saydisc label released its first country blues record - a 7" LP by Anderson Jones Jackson. By 1968, it was helping three ‘pop-up’ DIY blues labels to get to market - Sunflower, Kokomo and Highway 51. These were mere toes in the water and Saydisc soon set up the celebrated Matchbox label to release contemporary British country blues along with pre-war US blues transcribed from rare 78s. Matchbox also pressed the popular Austrian Roots label for the UK market and later issued contemporary American blues and pre-war Library of Congress recordings. Later again came the Bluesmaster Series. In all, Saydisc released well over 100 blues LPs.
By 1968, electric blues was becoming increasingly popular in the UK. In July, however, Matchbox released the first LP showcasing British acoustic blues. The time was right and Blues Like Showers of Rain made a big stir. John Peel played it on his Night Ride radio show and invited most of the artists to record BBC sessions. The major labels picked up on the buzz and most of the artists were snapped up. Matchbox carried on the momentum over the next few years before Saydisc concentrated on other musical styles. Matchbox returned in 1982 with the Bluesmaster Series, an ambitious undertaking resulting in 42 LPs, including two double-LPs to support Paul Oliver's extremely well-received Songsters & Saints book.
Amongst other things, Blues from the Avon Delta includes: information on every Saydisc-related blues record released (and two that never saw light of day) along with images of all relevant record sleeves, including those on Sunflower, Kokomo, Highway 51, Roots and Ahura Mazda; a cameo appearance by The Village Thing label, which represented ‘what came after the blues, British style’; memorabilia provided specially by the label owners and other archives/collections, much not seen in print since the 1960s and 1970s (if ever); active input from those who were there; and a section on Saydisc’s hook-ups with Blues World magazine and November Books’ Blues Paperbacks series.
In 1967, the fledgling Bristol-based Saydisc label released its first country blues record - a 7" LP by Anderson Jones Jackson. By 1968, it was helping three ‘pop-up’ DIY blues labels to get to market - Sunflower, Kokomo and Highway 51. These were mere toes in the water and Saydisc soon set up the celebrated Matchbox label to release contemporary British country blues along with pre-war US blues transcribed from rare 78s. Matchbox also pressed the popular Austrian Roots label for the UK market and later issued contemporary American blues and pre-war Library of Congress recordings. Later again came the Bluesmaster Series. In all, Saydisc released well over 100 blues LPs.
By 1968, electric blues was becoming increasingly popular in the UK. In July, however, Matchbox released the first LP showcasing British acoustic blues. The time was right and Blues Like Showers of Rain made a big stir. John Peel played it on his Night Ride radio show and invited most of the artists to record BBC sessions. The major labels picked up on the buzz and most of the artists were snapped up. Matchbox carried on the momentum over the next few years before Saydisc concentrated on other musical styles. Matchbox returned in 1982 with the Bluesmaster Series, an ambitious undertaking resulting in 42 LPs, including two double-LPs to support Paul Oliver's extremely well-received Songsters & Saints book.
Amongst other things, Blues from the Avon Delta includes: information on every Saydisc-related blues record released (and two that never saw light of day) along with images of all relevant record sleeves, including those on Sunflower, Kokomo, Highway 51, Roots and Ahura Mazda; a cameo appearance by The Village Thing label, which represented ‘what came after the blues, British style’; memorabilia provided specially by the label owners and other archives/collections, much not seen in print since the 1960s and 1970s (if ever); active input from those who were there; and a section on Saydisc’s hook-ups with Blues World magazine and November Books’ Blues Paperbacks series.
Selected as a finalist in the 2021 Association for Recorded Sound Collections Awards for Excellence (Best Historical Research in Recorded Classical Music).
Improvements made in fidelity during the Second World War and new formats introduced in the post-war period – extended frequency range, microgroove records, pre-recorded tapes and stereo – were the result of a convergence of technological advances, some prompted by wartime research and experience, some based on pre-war path dependencies. Thanks to these innovations, the UK witnessed a particularly ‘British’ (i.e. for the most part understated) 'Battle of the Speeds' during the 1950s; in 1945, shellac 78 rpm records were the standard sound carrier format but, by 1956, all British labels had ceased releasing new classical product on this format in preference to 33⅓ and 45 rpm microgroove vinyl records. The adoption of magnetic tape, meanwhile, made the recording process less cumbersome and fed into the development of stereophonic sound reproduction; monaural pre-recorded tapes were introduced in 1954 and stereophonic tapes in 1955. Stereo vinyl records followed in 1958.
Although the focus is on the British record industry, there was a great deal of interaction between the major UK record companies and their US counterparts, with most of the major innovations marketed in America first. Therefore, discussion of the US industry is not only inevitable, but vital to provide context for the changes in the UK market.
The Appendices include a brief discussion of various then contemporary publications and periodicals provided for buyers of classical records, and over fifteen tables with detailed information about catalogue sequences, label designs, new entrants to the classical market, time-line of new format introduction, etc. The book is supported by a website (an ever-ongoing work-in-progress, soon to be migrated to this more user-friendly site!) that includes examples of label and sleeve designs, trade advertisements, etc. The book and website are further supported by a discussion forum.
Although the focus is on the British record industry, there was a great deal of interaction between the major UK record companies and their US counterparts, with most of the major innovations marketed in America first. Therefore, discussion of the US industry is not only inevitable, but vital to provide context for the changes in the UK market.
The Appendices include a brief discussion of various then contemporary publications and periodicals provided for buyers of classical records, and over fifteen tables with detailed information about catalogue sequences, label designs, new entrants to the classical market, time-line of new format introduction, etc. The book is supported by a website (an ever-ongoing work-in-progress, soon to be migrated to this more user-friendly site!) that includes examples of label and sleeve designs, trade advertisements, etc. The book and website are further supported by a discussion forum.
The digital version does not include the various tables as included in the paperback version because most eReaders cannot cope with complex tables. These are, instead, available on the support website.
Winner of the 2017 Association for Recorded Sound Collections Awards for Excellence in Historical Recorded Sound Research (Rock Music Discographies).
Immediate is bounded in time, a quaint (or should that be Quant?) time capsule forever synonymous with Swinging 60s London. Incorporation to insolvency was only 5 five years but the reissues keep appearing 50 years on. Not surprising when you consider that the roll call of artists – e.g. Small Faces, Nice, Rod Stewart, Humble Pie, Chris Farlowe and Duncan Browne – was formidable.
Also, let's not forget this far on in time that Immediate was the first British independent to score a number 1 on their own label. This, perhaps, is one of the reasons that the label has such fervent admirers – ‘the little bastard Immediate’ stuck two fingers up at an oligopolistic industry that hadn’t changed since before WW2 and stirred things up good and proper.
Without Immediate we might not have had Harvest, Vertigo, Nova or Dawn from the majors and we may not have seen further maverick–run independents, such as Charisma, Virgin, Stiff, Cherry Red, Rough Trade, Factory or Creation.
Included are comprehensive listings of all original UK Immediate releases plus all known UK reissues up to 1985. Note that this book was completed with extensive input from Barry 'Mr. Immediate' Green, curator of Charly Records' Immediate archive - discographies don't come much more 'officially endorsed' than this!
Also, let's not forget this far on in time that Immediate was the first British independent to score a number 1 on their own label. This, perhaps, is one of the reasons that the label has such fervent admirers – ‘the little bastard Immediate’ stuck two fingers up at an oligopolistic industry that hadn’t changed since before WW2 and stirred things up good and proper.
Without Immediate we might not have had Harvest, Vertigo, Nova or Dawn from the majors and we may not have seen further maverick–run independents, such as Charisma, Virgin, Stiff, Cherry Red, Rough Trade, Factory or Creation.
Included are comprehensive listings of all original UK Immediate releases plus all known UK reissues up to 1985. Note that this book was completed with extensive input from Barry 'Mr. Immediate' Green, curator of Charly Records' Immediate archive - discographies don't come much more 'officially endorsed' than this!
The 1st edition was nominated for the 2014 Association for Recorded Sound Collections Awards for Excellence in Historical Research (Rock Music Discographies).
B&C started life as a distribution company, Beat and Commercial, which was set up as a sister company to Island. Island's early success led B&C's owner, Lee Gopthal, to start releasing records in his own right. However, B&C's main strategy was based on licensing records rather than signing and controlling artists directly and many of B&C's labels concentrated on singles and budget compilation albums, which were less lucrative than full-priced LPs – strategies that set the seeds of the company's own destruction. The end, when it came in 1975 was probably inevitable.
Still, whilst B&C was about, some very good music got released, almost despite itself on occasion. This book includes a detailed history that discusses the organisational set-up at B&C, supported by memories from those who worked with or alongside B&C, along with comprehensive discographies covering all known vinyl records, cassettes and 8-Tracks on the Action, Stable, B&C, Charisma, Pegasus, Peg, People, Mooncrest, Dragon, Sussex and Seven Sun labels.
Note that B&C-era Charisma is covered in much more depth in The Famous Charisma Discography, also available from this page.
Still, whilst B&C was about, some very good music got released, almost despite itself on occasion. This book includes a detailed history that discusses the organisational set-up at B&C, supported by memories from those who worked with or alongside B&C, along with comprehensive discographies covering all known vinyl records, cassettes and 8-Tracks on the Action, Stable, B&C, Charisma, Pegasus, Peg, People, Mooncrest, Dragon, Sussex and Seven Sun labels.
Note that B&C-era Charisma is covered in much more depth in The Famous Charisma Discography, also available from this page.
The 1st edition is still available for completists, though it includes only limited coverage of Charisma, so as not to duplicate content available in The Famous Charisma Discography. However, feedback from the Awards body suggested that duplication of pre-existing material would have been beneficial - hence expanding the book for the second edition.
The Virgin label began with an eclectic and esoteric mix of left-field artists, including Mike Oldfield, Gong, Faust, Tangerine Dream and Henry Cow. Many of the resulting LPs are now considered to be important cultural reference points – is there anyone who hasn't heard of Tubular Bells?
In 1977 Virgin signed the Sex Pistols. A horde of punk and new wave bands followed, such as XTC, Magazine, The Ruts and - as the Sex Pistols imploded – PIL. Following this, the iconic Front Line label was responsible for some of the best reggae ever heard, from artists such as U-Roy, Tapper Zukie, I-Roy, Keith Hudson, The Gladiators, Culture and the Twinkle Brothers.
This book covers the ‘classic’ years and is an absolute must for anyone with half an ear open – let’s face it, during the 1970s Virgin defined the nation’s – if not the world’s – musical taste. All known releases (vinyl, cassette and 8-Track) on Virgin and related labels (Caroline, Oval, JCOA/WATT, Atra, The Front Line, DinDisc, Ice, Butt, ECM/JAPO, No Bad, etc.) are documented here – from Tubular Bells to numerous forgotten gems that deserve much greater recognition. How about the Rawtenstall Concertina Orchestra, anyone?
In 1977 Virgin signed the Sex Pistols. A horde of punk and new wave bands followed, such as XTC, Magazine, The Ruts and - as the Sex Pistols imploded – PIL. Following this, the iconic Front Line label was responsible for some of the best reggae ever heard, from artists such as U-Roy, Tapper Zukie, I-Roy, Keith Hudson, The Gladiators, Culture and the Twinkle Brothers.
This book covers the ‘classic’ years and is an absolute must for anyone with half an ear open – let’s face it, during the 1970s Virgin defined the nation’s – if not the world’s – musical taste. All known releases (vinyl, cassette and 8-Track) on Virgin and related labels (Caroline, Oval, JCOA/WATT, Atra, The Front Line, DinDisc, Ice, Butt, ECM/JAPO, No Bad, etc.) are documented here – from Tubular Bells to numerous forgotten gems that deserve much greater recognition. How about the Rawtenstall Concertina Orchestra, anyone?
The Saydisc & Village Thing Discography provides an in-depth look at the wonderfully eclectic Saydisc label and at the UK’s original “alternative folk label”, Village Thing. Also included are Saydisc's Matchbox, Amon Ra and Ahura Mazda labels as well as the Roots label, which was pressed and distributed by Saydisc in the UK. The book includes over 50 pages of illustrations, including sleeve illustrations for almost every record listed.
Saydisc started life in Bristol, and set about recording all aspects of Bristolian musical life, such as folk, jazz, church bells, organs and mechanical music from cylinders and music boxes. However, in 1968 the label began a policy of releasing contemporary British and classic American blues on the Matchbox imprint. This policy was extended with the pressing and distribution of Johnny Parth’s legendary Roots label.
If this wasn't enough to ensure future collectability for the label, 1970 saw the formation of the Village Thing label, which concentrated on the emergent post-blues, home-grown British folk scene. Village Thing is now considered the classic acid/psych folk label, with the majority of records on the label having risen sharply in value over the last few years.
In 1973, the Amon Ra label was formed to release chamber music on authentic instruments, long before this became fashionable. Added to this, Saydisc also produced contract pressings for other labels and organisations, often with woefully-short pressing runs. Saydisc also released records licensed from quality American independent labels such as Rounder, Ahura Mazda and Kanawha to present contemporary American roots music alongside its expanding catalogue of classic jazz and blues. Added to this were releases covering barbershop, world music, choirs, handbells, British dialect, brass bands, carillons, church bells and railway recordings. This has ensured that Saydisc is now considered an absolute one-off. A truly classic British record label.
Saydisc started life in Bristol, and set about recording all aspects of Bristolian musical life, such as folk, jazz, church bells, organs and mechanical music from cylinders and music boxes. However, in 1968 the label began a policy of releasing contemporary British and classic American blues on the Matchbox imprint. This policy was extended with the pressing and distribution of Johnny Parth’s legendary Roots label.
If this wasn't enough to ensure future collectability for the label, 1970 saw the formation of the Village Thing label, which concentrated on the emergent post-blues, home-grown British folk scene. Village Thing is now considered the classic acid/psych folk label, with the majority of records on the label having risen sharply in value over the last few years.
In 1973, the Amon Ra label was formed to release chamber music on authentic instruments, long before this became fashionable. Added to this, Saydisc also produced contract pressings for other labels and organisations, often with woefully-short pressing runs. Saydisc also released records licensed from quality American independent labels such as Rounder, Ahura Mazda and Kanawha to present contemporary American roots music alongside its expanding catalogue of classic jazz and blues. Added to this were releases covering barbershop, world music, choirs, handbells, British dialect, brass bands, carillons, church bells and railway recordings. This has ensured that Saydisc is now considered an absolute one-off. A truly classic British record label.
Note that, thanks mainly to Brexit, this book is only available in the UK.
The book includes forewords by Monty Python's Michael Palin and String Driven Thing's Chris Adams. LAST FEW ORIGINAL PAPERBACK COPIES LEFT
The Famous Charisma Discography features painstakingly-researched discographies of all known UK releases from 1969 to 1987. Those who think that Charisma just meant Genesis are in for a shock. Genesis were there for pretty much the duration, true, but they shared the label with names both well-known and obscure - Van der Graaf Generator, Lindisfarne, Monty Python, Audience, Rare Bird, Barry Humphries, AFT, Brand X, Trevor Billmuss, Malcolm McLaren, The Ferrets, Clifford T. Ward, Charlie Drake, Sir John Betjeman, Michael Nyman, Prince Far I, Delta 5, Peter O’Sullevan, Gary Shearston, String Driven Thing, Bert Jansch, La La (no, not the Telly Tubby!), Robert John Godfrey, Refugee, Patrick Moraz, Hawkwind, Peter Gabriel, Steve Hackett, John Arlott, Pierre Cour, Trimmer and Jenkins, Jackson Heights, The Nice, Capability Brown, Joseph Eger, Gordon Turner, Peter Hammill, Bo Hansson, Spreadeagle, Atacama, Hot Thumbs O’Riley (really Wigwam's Jim Pembroke), Vivian Stanshall, Gregory Isaacs and more.
To add further value the book presents the first-known listings of cassette and 8-track cartridge releases, as well as looking at the little-known Charisma Books and Charisma Films offshoots. The book includes a detailed history that discusses both Strat and the organisational set-up at Charisma, supported by memories from those who worked for the company alongside those of artists that made the label such a delight of eclecticism in an industry where confirmation of taste through providing bland, watered-down product is the norm. Charisma bucked this trend and, in its heyday, provided an intelligent and varied mix of the sublime and the (mostly deliberately) ridiculous for anyone who was willing to listen.
To add further value the book presents the first-known listings of cassette and 8-track cartridge releases, as well as looking at the little-known Charisma Books and Charisma Films offshoots. The book includes a detailed history that discusses both Strat and the organisational set-up at Charisma, supported by memories from those who worked for the company alongside those of artists that made the label such a delight of eclecticism in an industry where confirmation of taste through providing bland, watered-down product is the norm. Charisma bucked this trend and, in its heyday, provided an intelligent and varied mix of the sublime and the (mostly deliberately) ridiculous for anyone who was willing to listen.
Note that, thanks mainly to Brexit, the paperback version of this book is only available in the UK.
Bristol Folk features painstakingly researched profiles of all the artists known to have recorded in and around Bristol’s vibrant folk scene in the 1960s and 1970s: from Ian A. Anderson’s country blues to the manic 1920s jug-based jazz of the Pigsty Hill Light Orchestra; from Adge Cutler & the Wurzels’ novelty rural folk to the sophisticated bedsit images of Shelagh McDonald; from the rustic rock of Stackridge to the finely-crafted ‘psych blues’ of Al Jones; from the magical ballads of Bob Stewart to ethereal pop hits by Sally Oldfield; from the inspired, original guitar work of Dave Evans to the ‘acid folk’ of Keith Christmas – and much more.
Amongst those who contributed specially-written pieces are Ian A. Anderson, Andy Leggett, Rodney Matthews (yes, the world-famous fantasy artist started out designing LP sleeves and gig posters for Bristol’s folk set), Steve Tilston and the late and much lamented Fred Wedlock, all of whose diverse careers either started in Bristol or were shaped by their time on Bristol’s folk scene.
The book also looks at the local labels that released many now highly-collectable folk records, as well as at Bristol’s numerous folk clubs – from the Troubadour, which put Bristol firmly on the national folk map between 1966 and 1971, and the Stonehouse, to the now less well-remembered (outside of Bristol, at least), but equally-missed clubs, such as Bristol Ballads & Blues, White On Black, Folk Blues Bristol & West and many more.
Included are numerous pictures, many published here for the first time, along with sleeve images of most of the records discussed within.
Amongst those who contributed specially-written pieces are Ian A. Anderson, Andy Leggett, Rodney Matthews (yes, the world-famous fantasy artist started out designing LP sleeves and gig posters for Bristol’s folk set), Steve Tilston and the late and much lamented Fred Wedlock, all of whose diverse careers either started in Bristol or were shaped by their time on Bristol’s folk scene.
The book also looks at the local labels that released many now highly-collectable folk records, as well as at Bristol’s numerous folk clubs – from the Troubadour, which put Bristol firmly on the national folk map between 1966 and 1971, and the Stonehouse, to the now less well-remembered (outside of Bristol, at least), but equally-missed clubs, such as Bristol Ballads & Blues, White On Black, Folk Blues Bristol & West and many more.
Included are numerous pictures, many published here for the first time, along with sleeve images of most of the records discussed within.
Note that, thanks mainly to Brexit, the paperback version of this book is only available in the UK.
Note that the digital version does not include illustrations.
See the Railways page for further discographies.
See the author's Spotlight page at Lulu.com to view all books that are printed on demand, or otherwise available as eBooks.
© 2009 - 2021, M. C. Jones, trading as Bristol Folk Publications. The Record Press, Diogenes Academic Press and Burnham Priory are imprints of Bristol Folk Publications.