An Ebay member since 1999, I have been selling vinyl for 16 years and have collected vinyl for 56 years - buy with confidence from my two stores at the links below.

You will find over 30,000 records to browse (including CD's and even cassettes!), and also (at Ebay only)  music related items such as posters, magazines, fridge magnets, patches, coasters, keyrings and lots more!

About 2,000 items in my Ebay store, lots of vinyl plus music related gift items such as vintage magazines, fridge magnets, coasters, keyrings, patches, posters etc.

About 27,000 vinyl records in my Discogs store, both 7" singles and LP's, and quite a few cassettes & CD's

Contact me for a swift reply, e.g. if you are looking for something I am not showing in stock, I have lots of back stock not yet listed in my stores, or if you want more information about any record.

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BLITZKRIEG BOP - Live 77 & Beyond
limited edition 28 track CD for sale
on my own Opportunes label - limited to 300 copies, only £3.99 - original 1977 punk - remastered
live tracks.

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BASCZAX - Music From The Post Punk
Dystopia 1979-80 limited edition 16 track CD on my own Opportunes label - limited to 500 copies, only £3.99 - remastered studio tracks.


FAST CAKES (former Blitzkrieg Bop & Basczax member's solo name) - When You Die You Dream Forever limited edition 13 track CD, limited to 500 copies, only £2.99


FAST CAKES - Liveyoungdiefast (debut 2012 album) limited edition 13 track CD, limited to 1000 copies, only £2.99


While the major topic of conversation in recent weeks has been if the Covid pandemic has peaked, another phenomenon of recent times is also coming under scrutiny, namely, has the vinyl revival peaked?

Looking at the raw figures, it looks like the demand for vinyl is still on the up, according to figures from the British Phonographic Industry (BPI), sales in 2021 rose above 5 million, up 8% from 2020, and the 14th year in a row that sales have increased.

But I have detected signs that there may be trouble ahead. Demand from record labels on pressing plants mean that lead time on delivery can be up to 12 months at the moment, led by major labels block booking large quantities of their "prestige" new releases, and in doing so, squeezing out many smaller labels, who traditionally request smaller runs of around 1000 copies per title - the temptation for pressing plants to please major labels, giving them priority is understandable - as they said in Spinal Tap: Money talks, and bullshit walks.

But I understand that this strategy is revealing worrying trends in the market. I have heard from an insider that Parlophone pressed up 90,000 copies of the recently released Coldplay album "Music Of The Spheres", and that a mere 3000 have been sold to the public, with the rest gathering dust. The precious capacity of the pressing plant seems to have been used up on a title that had limited appeal to the vinyl buying public.

Coldpay are not alone, up to half a million copies of Adele's "30" are filling the racks and warehouses up and down the land, which will surely result in future new releases being scaled back to more realistic levels.

I of course rely on sales on "new sealed" vinyl to keep sales at Vinylshrine ticking over - but the vast majority of my sales are for so-called classic albums from the likes of Pink Floyd, Fleetwood Mac, Jethro Tull, The Doors and David Bowie, and budget repackaged titles from labels such as Not Now Music featuring legendary jazz, blues and R&B artists.

My prediction for 2022 and beyond is that due to fast rising costs, the retail prices of vinyl LP's will increase dramatically which will result in more cautious sales - I am hoping that major labels will ease back on their quantities, thus freeing up capacity at the pressing plants and making life easier for everyone.



Mortality is a subject close to my ever weakening heart – at 66 I spend more time looking back than looking forward, and a good deal of my leisure time is spent watching and re-watching my favourite musical performances by those bands and artists that have become legends.

The list is long, including Frank Zappa, Genesis, Joni Mitchell, Yes, The Rolling Stones, The Who, Simon & Garfunkel, and The Beatles, to name a few.

The problem is I am watching them at the height of their powers, when their youth shone brightly. The stunningly restored film of The Beatles “Get Back” is so clear and vibrant it looks like it was filmed last week, and the shock of seeing how much someone like Paul McCartney has changed is considerable. It shouldn't come as a surprise, but it is still disconcerting.

I watch so much from the distant past that I start to think these people are immortal, that the high definition footage of them is how they are still, or at least how I want to remember them.

It was an emotional night for me seeing the recent Genesis reunion gig, with Phil Collins having to sit for the whole performance, and have his vocals boosted by two backing singers, it wasn't ideal but it's the best we can expect.

As these giants of popular music slip into the past, we must rely more and more on those precious recordings of when they were younger to celebrate their genius.



Think of the Beatles in the studio and immediately you imagine the four mop tops dotted around the vast room at Abbey Road churning out their masterpieces - and you would be correct...almost.

Dedicated Beatle fans probably know full well that the band wandered from Abbey Road occasionally for various reasons, and conducted recording sessions at other studios, but the casual fan might be surprised to learn that some of their biggest songs were born away from the iconic EMI studio that is forever tied to their legend.

The first time this happened was in early 1964 when the band were briefly in France prior to their all-conquering invasion of America, and in a couple of hours (and just four takes) they created "Can't Buy Me Love" at EMI Pathe Marconi Studios in Paris. It was completed at Abbey Road but the basic tracks were already done.

For the next few years they were resident at Abbey Road and turned out a whole library of classic songs, but by 1967 there were a few London studios that were beginning to gain a reputation, primarily because they offered 8-track recording, something which Abbey Road was slow to adopt.

Between 1967 and 1969 the band utilised these facilities to record songs that many believe were done at Abbey Road. For example at Trident Studios they did Honey Pie, Martha My Dear, Dear Prudence, Hey Jude and I Want You (She's So Heavy), at Chappell they taped Your Mother Should Know, At De Lane Lea they did It's All Too Much, and at Regent they taped Fixing A Hole.

And let's not forget the Let It Be sessions in January 1969 - once the ill fated rehearsals wrapped up at Twickenham Film Studios, the band convened at Apple Studios and put together a makeshift temporary recording studio and commenced recording such classics as The Long And Winding Road, Let It Be, Two Of Us, I've Got A Feeling, One After 909, Dig A Pony, and the evergreen Get Back.

There was even a song that was taped on another continent, namely George's "The Inner Light" which started life at EMI India.

Of course, many of these songs were completed with overdubs and mixing etc at Abbey Road, under the watchful eye of George Martin (but not all the time, Martin's absence from certain Beatle session could make for another essay similar to this one), and the band will forever be linked to the famous studio, as the vast majority of their stellar output was recorded at that imposing iconic white building in north London, just a short walk away from THAT zebra crossing.