Next up we have Stephen Cooke from Halifax Nova Scotia. Stephen is pretty well known and liked in the east coast music scene and he has one hell of a collection to be proud of here.
Enjoy!
Here we go!
Introduce yourself!
Name: Stephen Cooke
City/Town: Live in Halifax, a Dartmouth boy at heart
Job: Entertainment Reporter for The Chronicle Herald
Maritime Vinyl (MV) - What do you collect? Vinyl; CD’s; Cassettes; 8 tracks;
bootlegs; music memorabilia; magazine; etc..
Stephen Cooke (SC) - I definitely have some of all of the above, leaning more
heavily on the music, but I have a lot of my old music mags still kicking
around (Creem Magazines going back to the '70s, some old Rolling Stone
magazines, pretty much anything from the '80s that had The Replacements or REM
on the cover), and some fun memorabilia, like a '60s Monkeesmobile, the K-Tel
Superstar board game (the one that came with the triple-grooved 7” 45 that said
either “It's a hit!”, “Break Even” or “It's a Flop!”) and tons of books as
well.
Vinyl and CDs are the main things though, I only have one
8-Track, and it's the Lenny and the Squigtones album, a comedy offshoot from
the '70s sitcom Laverne & Shirley that a friend gave me. I don't have
anything to play it on, but that's okay, I have it on vinyl too.
MV - Do you prefer one audio format more than others? (example:
vinyl more than cd’s)
SC - I pretty much have equal amounts of both, so I can't say I
have a strong preference, although I still appreciate the convenience of CDs
for playing in the car, ripping to my computer, etc. But I also have a
turntable hooked up to my computer, for those vinyl-only rarities I'd like to
have on my iPod or put on a mix CD. I'm still a sucker for possessing something
in a physical format, although as space increasingly becomes an issue, my 2TB
external hard drive becomes an easy alternative for stuff that I'm curious
about that may not make it through the long haul.
MV - How big is your collection?
SC - Pretty big. Last time I did an estimate of my vinyl stash, it
was around 3-4,000 titles, and that was a number of years ago. I've acquired a
few milk crates' worth of LPs since then, and numerous 45s as well, so 5,000
might not be a bad estimate. Probably around the same number of CDs as well.
Unlike a lot of people of my generation, I didn't
automatically start purging my collection of vinyl records as the CDs came out
in the late '80s and early '90s. Aside from occasionally skimming the dross off
my collection, it's stayed pretty much intact over the years.
MV - Do you concentrate your collection on one or more artists
in particular?
SC - I have a few favourites, to be sure, but it's a pretty
general sort of collection over all. I've made up my own weird filing system
that starts with early pop and jazz (think Bing Crosby and Frank Sinatra into
Bix Beiderbecke to Miles Davis) and moves up through R&B and country into
rock and roll, folk, British Invasion, '70s stuff, punk, alternative and so on.
I keep Canadian stuff separate, and East Coast stuff separate beyond that, and
then there are those singular categories like soundtracks (I seem to have
acquired a lot of Ennio Morricone LPs) and comedy/novelty stuff. I also have an
unhealthy number of singing celebrity “golden throats” albums by people like
William Shatner, Leonard Nimoy, Jim Nabors singing as Gomer Pyle, Herve
Villechaize and so on, Lord help me.
MV - What is the first album you remember purchasing? Do you
still have it?
SC - Aside from a few '70s K-Tel albums, and my mother's copy of
Elvis Presley's Blue Hawaii soundtrack, I grew up in a pretty rock and
roll-free household. My folks came of age in that pre-rock period where Perry
Como and Tony Bennett were more the sound of the day, although my dad did have
a number of Gordon Lightfoot LPs from his folkie days, when he worked in Ottawa
and would go see Bruce Cockburn playing lunchtime gigs at local coffeehouses.
So aside from raiding mom's records (a lot of Broadway show
tunes), and my old kiddie records, there wasn't much to choose from. The first
LP I bought with my own money was a well-worn copy of The Beatles' Sgt.
Pepper's Lonely Hearts Club Band which I got for a dollar when I was 10 or so,
in a box of records I found in the Charlottetown used book store where I'd go
to get Doc Savage paperbacks while visiting relatives in P.E.I. I guess someone
just left them there, and I had a dollar either my dad or my uncle had given
me, so I picked up a copy of the album with the strange looking cover with all
these faces on it.
I knew who the Beatles were, I'd seen the animated feature
Yellow Submarine on TV when I was quite young (4 or 5) and I had an extremely
beat-up 45 of I Want to Hold Your Hand b/w I Saw Her Standing There that a
former babysitter had given me, but none of that really prepared me for Sgt.
Pepper. But at the same time, I could kind of relate to it as a kids' record,
with all the sound effects, circus music, weird Indian stuff and orchestral
bits. It felt like a jazzier version of one of my storybook records at the
time, I don't think it fazed me one bit.
I still have it, the cover is ringworn and dog-eared, and the
vinyl is scratchy, and unfortunately I took a pair of scissors to the insert
that included all the fake badges and stuff and taped them to my wall. But it
was just an early '70s copy on that red Capitol label, not a rare original
pressing or mono edition or anything like that, so I don't feel too bad about
the fact it was well-loved.
MV - What is your favorite item in your collection?
SC - Holy moley, where do I start? I don't have anything I'd
consider super-rare, like a Beatles “butcher cover” of Yesterday and Today, or
the misprint of the first Damned album, Damned Damned Damned, which has a pic
of Eddie and the Hot Rods on the back by mistake, but I have a few favourites.
My top band of all time is The Kinks, and I have a copy of Kinda Kinks signed
by Ray Davies when I saw him perform in York, England a few years ago. I had
just bought the record a few days before in Glasgow, and it didn't occur to me
that I might actually get to meet Ray, but I ran into some members of the UK
Kinks Fan Club and they told me to come with them to the stage door, since I'd
come all the way from Canada. Sure enough, Ray came out and chatted with the
fans after the show, signed whatever people held up to him, and was very
convivial, despite being somewhat exhausted after playing for over two hours.
I don't actively go after autographed items, unless it's
something I get signed myself, and that was clearly a big one for me. Other
favourite items include a numbered Japanese copy of The Beatles' “White Album”
which is probably the best-sounding piece of vinyl I own (I haven't tried to
stack it up against the new 180g remaster though), and a beautiful, mint
original copy of Sam Cooke's (no relation) Hit Kit LP on Keen Records.
MV - Do you still actively collect or was this something you
concentrated on in the past?
SC - I still pick up stuff that intrigues me as I come across it, but I have to check myself so that I'm not just buying something because it has a cool (or horrendous) cover, and I try not to repeat myself and pick up something I already have in another format, although sometimes I can't help myself, as with special Record Store Day items, or one-off items like the vinyl-only mono version of Paul McCartney's Ram.
But I do like to keep up with vinyl when local artists put it
out (loved the Noyes Records singles club), and when something like the Neutral
Milk Hotel vinyl box or the stereo/mono double LP of The Kinks Are the Village
Green Preservation Society were announced I didn't blink at pre-ordering them.
Sometimes you've gotta follow that Pavlovian response.
MV - What is your preferred way of adding to your collection?
Shopping online? Flea Markets? Independent music stores? Etc… Any favourite
store or websites?
SC - All of the above, although my preference is for flipping
through the racks at places like Taz, Select Sounds, Obsolete or Black Buffalo.
I do like a good root through a yard sale box or a thrift store pile, but find
those efforts less rewarding as time goes by. I do occasionally buy stuff
online, but not all that often. For new records, Insound.com is my usual go-to,
although I also buy direct from some labels like Yep Roc or Third Man, where
I'm also a subscriber to their vault series of exclusive releases. I do like
opening a box and finding a Jack White live LP with a lenticular cover and
two-tone blue and black vinyl inside. The music is the main thing, but I do
like the trimmings from time to time.
I windowshop on eBay, I'll type “The Kinks” or “The Damned”
into the search box and sort from most expensive first to see what's out there
and what people want for it, but I rarely follow through. I think the last
couple of things I bought on eBay were a 45 of Merry Merry Merry Merry Xmas by
Ruby Wright (a song featured in John Waters' film Female Trouble) and an LP by
'60s band Central Nervous System, which included a young Nova Scotia rocker
named Ritchie Oakley.
MV - How do you store your collection? Shelves? Boxes? Your
attic?
SC - Again, all of the above. Luckily, our condo comes with a
storage unit that I refer to as “the archive,” which has shelving, but there
are still lots of milk crates full of vinyl around, plus the usual stack of LPs
leaning against the stereo stand. From here I can see the Mammoth Cave reissue
of Shadowy Men on a Shadowy Planet's Savvy Show Stoppers, Jerry Lee Lewis Live
at Third Man Records, the Sloan Twice Removed reissue and a beat-up copy of
Boney M's Night Flight to Venus. There's also a box of 78s nearby that a friend
gave to me, I'm planning to go through them, make digital copies of the
interesting ones, and pass them along. 78s are like classical records, I swore
to myself I wouldn't accumulate them, but then they just kind of show up on my
doorstep.
MV - Does your significant other support your collection? Did
you have to convince him/her?
SC - Lucky for me my partner is a music fan too, and loves to take
advantage of my music and movie collections, although I'm sure she wishes I was
a bit better at filing stuff away after I'm done with it (I refer back to the
stack of records leaning against the stereo stand). Also, she moved here from
Australia after selling everything she owned except whatever she could fit on a
handcart, so she appreciates the fact that I've been able to hang on to as much
stuff as I have over the years.
I did have to pay off a tax bill years ago, before we met,
and in the end it was my comic book collection that took the hit, and she's
probably fine with that. Lugging around milk crates and wine boxes full of
vinyl is bad enough (not to mention CDs, DVDs and, ugh, laserdiscs), selling
off those long white comics boxes was probably a blessing in the end.
MV - What is on your “wish list” at the moment?
SC - I try not to have a long wish list, I'm probably more of an
impulse buyer, but I'd love to have a copy of The White Stripes' Sub Pop
Singles Club release featuring a bunch of Captain Beefheart covers, and The
Kinks' Then Now and Inbetween promo box from the '60s, which came with a God
Save the Kinks pin, a jigsaw puzzle, a tiny flag and a baggie of grass
clippings “from the Village Green.” Oh yeah, it also includes a compilation LP.
Maybe that aforementioned Damned LP with the misprinted back cover, but I
already have two copies of Damned Damned Damned on vinyl, and the CD box set
devoted to their Stiff Records period, so I haven't actively been searching for
it.
MV - Do you ever miss the days when it was a challenge to buy
some albums? Now you can find virtually anything online! Is it getting too
easy?
SC - It's always much more gratifying to find something by chance
in a store or at a record fair. Going on eBay and seeing 30 different Beatles
“Butcher Covers” of varying degrees of quality kinda kills the specialness of
it all. I remember seeing my first one, at a record fair in Baltimore in the
late '80s, hanging on the wall for $150, and then seeing the first one owned by
someone I knew, a fairly decent “peel job”, and both of those sightings were
pretty special. Seeing dozens of them on eBay, not so much.
MV - Do you know any other collectors?
SC - Not as many as I used to when I spent a lot more time hanging
out in record stores, doing shows on CKDU-FM and crate digging around town.
Most of my friends who love music aren't into vinyl in a big way, even if they
once were, although I still know a few record hounds like CKDU hosts Russell
Gragg and Ryan Delehanty. But most people I know these days seem to be
shrinking their physical collections, not growing or maintaining them.
MV - You are an “Entertainment Reporter” for the Chronicle
Herald in Halifax, NS. What’s it like being a music journalist in the
Maritimes?
SC - It's certainly been interesting, seeing East Coast music go
from the Celtic music boom of the late '80s and early '90s, and that whole
“next Seattle” thing to the thriving and diverse music scene we have now. I
appreciate the hard work Maritime artists put into their music to make it stand
out, I just hope the shifting paradigm of the music industry continues to
change in their favour so they can make a living selling their songs online and
on the road.
MV - Being involved in the East coast music scene you have made
some friends with some big names in the music scene. Does becoming friends with
these musicians effect how you report on them?
SC - I suppose getting to know some of these people over the years
has given me a bit of added insight into their characters, or their methods
they use to approach their craft. The way I see it, the more I learn about the
process of making music, and the way that process is constantly changing, the
better I get at writing about it. To be honest, the relationship I have with
most musicians isn't much different from that of sports reporters and athletes
or those on the city hall or Province House beat and politicians. First-name
basis, sure; hugging basis, not as much as you'd think.
MV - Does being a music journalist help you with your vinyl
collection?
SC - Occasionally, although the amount of vinyl I get is pretty
minimal. I was lucky enough to get a review copy of the recent Beatles vinyl
set, although I've already collected multiple copies of many of those records
(three variations on Revolver, two numbered “White Albums”, Let It Be in the
less common gatefold sleeve, and so on). Before that, I think my last piece of promo
vinyl was a copy of Kestrels' A Ghost History LP, which I would have bought
anyway.
MV - You would get a lot of albums through work for reviewing.
How do these albums compare with what you buy personally?
SC - It's a mixed bag. I'm more interested in what's happening on
independent labels like Arts & Crafts and Matador, and they tend to send me
download links, which is fine. I just like to be able to hear as much different
music as possible, and there's still plenty of room left on my hard drive and
iPod. Ke$ha and Beyonce CDs interest me less, but I can appreciate the joys of
fun, disposable pop when it's done right, and it's good to have the opportunity
to hear it as soon as the record comes out.
MV - Getting to know musicians personally, does it affect which
albums you purchase? For example, if you do not like a musician personally, yet
you enjoyed their album before you met them, does your opinion on the album
change?
SC - Sometimes an awkward experience with a musician can leave a
bad taste in your mouth, but lucky for me those have been very few and far
between. Most of the time I can separate the artist from the art, and I've
heard enough negative stories about musicians whose work I admire that I'd have
to get rid of a healthy portion of my collection if I wanted to act on that
information.
MV - Prior to becoming a music journalist you played bass in a
band called “The Deluxe Boys” with some musicians that went onto some
successful music careers: Jay Ferguson (Sloan), Matt Murphy (The Super Friendz,
Cityfield) and John Gould. Any regrets in not pursuing a career as a musician?
SC - Not really, I never considered myself that great or dedicated
a musician, and I also wasn't driven to move away from the East Coast to find
greater success. This is where I wanted to live, and I was working at a job
that still allowed me to enjoy music while earning a living and being close to
my friends and family. Plus, I got a full-time job in radio right out of
university, and balancing that and a regular relationship didn't leave a ton of
time for making music on the side.
MV - Where can I find some recordings of ‘the Deluxe Boys?”
SC - Aside from a soundboard tape from an opening slot for
Jellyfishbabies at the Club Flamingo sitting in somebody's closet, you can't.
We had a handful of original tunes, and an eclectic bunch of cover versions
like the Monkees' Valerie and Squirrelbait's Choose Yr Poison, but we never got
to the point where we felt compelled to make a full-fledged recording, and our
sets were ... well, undisciplined might be the best way to put it. I think
someone once called us Halifax's answer to the Replacements, but I've listened
to some Replacements bootlegs (not to mention the cassette-only faux-bootleg
The Shit Hits the Fans) and I'm not entirely sure that was meant as a compliment.
But we had fun, and we had a few fans, including the
Flamingo's Greg Clark, who I'm sure took great pleasure in booking Sloan and
Super Friendz years later at Birdland and the Marquee and reminding them of
that scrappy bunch of university brats that he put on stage for the first time.
MV - It is apparent that you are a fan of live music as well as
vinyl. What do you think of people like me who love music but are more content
listening to vinyl than going to live shows?
SC - I still love going to shows, but as arena and big outdoor
shows get more expensive, and Halifax club shows continue to get underway at 10
p.m. or later, I can't fault anyone for wanting to listen to music by their
favourite acts in the comfort of their own home while drinking a beer that cost
them $2 instead of $6 or $7. But I also love festivals like the Halifax Pop
Explosion or All Tomorrow's Parties where you get a lot of bang for your buck,
music-wise; sometimes you can quantity and quality at the same time.
MV - Thanks for taking the time to do this Stephen!
In case anyone's interested that photo of a bunch of LP covers is just stuff I pulled at random from the shelf, with Wilbur de Paris Plays Cole Porter, which has the jazz trombonist riding a classic Vespa scooter (another obsession of mine), the debut LP by The Halifax Three autographed by member (and Mamas and Papas founder) Denny Doherty, a Super Friendz 10", the first LP by Halifax's Jellyfishbabies (whom the Deluxe Boys opened for, right before the JFB headed to Toronto), the first Hip Club Groove album, Songs of the Pogo from the comic strip by Walt Kelly and a Jackie Chan album.
ReplyDelete