Thursday, 24 January 2019

Destination: Richmond

I know what you're thinking.

You're thinking Isn't it strange that he has so much less to say about his weird, spoddy little music-shed project than he does about getting told off by various Yorkshirewomen?

Or you might be thinking I've read that Hi-Fi mag article already. Is that the best he can do? But lots of people won't have, there's a newer issue out now (so hopefully they won't mind) and I have actually taken the time to get the copy in a readable form. And also, everything else I have to say about my spoddy little music-shed project will need to make reference to this lovely article from time-to-time, in a post to follow soon. (Yes, I know you've heard that one before. Shut up and read it.)

Neil Young’s On the Beach is off the wall and on the turntable and HFC is on the sofa with a mug of Yorkshire tea, leafing through a vintage NME, sitting across from friendly and engaging host Tim Barnes. 

Tim’s a longstanding record collector, blogger, craft brewer, motorhome veteran and entrepreneur, and we’re catching up inside BLUES NIGHT, just before its opening in mid-November. Not only a project years in the making, it’s a strong contender for the most pleasant shop HFC has visited in this series so far. Approximately 25 square-metres of cool, the converted barn is compact, but its lines are clean and it has the aesthetics of an independent US or Scandi record store. 

Refreshingly, all of the LPs, 12”s, 45s, 78s, CDs and cassettes are for sale at realistic prices, and none of that uncluttered space is taken up by racks – the record sleeves are in lovely old seventies Suffolk County Library crates, on a chunky shelving unit. “I didn’t want sections or dividers,” Tim explains. “I wanted people to grab a whole crate, sit down with it, and peruse its contents slowly and enjoyably. Seats and tables are there because I want people to take their time, have a drink, maybe even talk to me!”

One reason for the lack of categorisation is that it’s all the blues – or at least Tim’s inventive interpretation of it as a broad church. “I came to the blues as many others did, via the Stones, Led Zeppelin, Hendrix and the rest. I’d say they were all blues bands. I’d say Bob Marley was a blues singer and Underground Resistance records are bluesy. And a lot of people would assume that I am bonkers. Look at the blues section in your average record shop and you’ll see that this inclusive philosophy of the blues is not a popular one.” Tim’s belief is that it’s the cornerstone of all good music, yet it’s a niche interest that is misrepresented for the people who prefer to stay outside of it.

Blues Night’s kit list makes for covetable reading. “I’ve always been more into hi-fi than DJ kit, but for the shop, I never thought about anything other than a pair of Technics 1210s,” Tim explains. These came via eBay, along with the Allen & Heath mixer. There’s also an ancient Goldring Lenco GL75 to play 78s on. The Nakamichi 600 tape deck is the most recent arrival: “I enjoy making a mixtape even more in my forties than I did in my teens,” he adds. “Sometimes it’s useful to record onto CD – the closest I get to digitising – on a Sony RCD-W100. A series of British amplifiers came to an end when the Marantz PM6003 was all I could afford and it seems it will last forever.” The speakers are bi-wired Musical Fidelity Reference 4s. “I’ve had them since I was a teenager and I love them like brothers.”

For now, all the stock on sale is from Tim’s own collection: “This is music I’ve been playing out in pubs, sharing it since I was a kid. Which is why the shop is called BLUES NIGHT. It’s not just a shop, it’s a musical project. It’s an attempt to share some excellent music, a lot of which doesn’t get heard very often.” Setting up the shop has led to moments of musical rediscovery, too: “It’s been exciting seeing the front covers of records that have been hidden away, apart from maybe a few square centimetres of spine, for decades,” he adds. “Records I’ve forgotten I had. Records I’ve thought were incredible, but only played once or twice. If I sell them all quickly, then I suppose I’ll be reinvesting as much of that as possible in more records that I can enjoy while they’re on sale. Or if I hardly sell any at all, I’ve still got lots of great records! It seems like a win-win situation to me.”

BLUES NIGHT aims to blur the lines between business venture and public service. “If I can get this project to make enough money to justify me spending most of my waking hours on it, it will be worth doing,” says Tim. “I really don’t know what to expect from it, long-term. I hope there will be live music, opportunities to sell the beer I’ve been making to occasional decent-sized crowds, and that it’ll be a venture that my boys can enjoy enough not to want to hide its existence and their connection to it from their school friends. I hope that people will listen to and enjoy music that they would never have picked out for themselves.

Tim has previous, having worked in a second-hand London record shop 20 years ago. “It was the only job I’ve ever had that I enjoyed. But I was getting paid £60 a day, and I thought maybe I’d try teaching for a while. I have been planning my escape back into my own record shop ever since.”

The eventual push for the escape plan was bitter-sweet, however. “Living in the capital, I never had any money – and rarely actually had any time to just sit and listen to music either. And an old friend died two-and-a-half years ago. I realised that while he’d never had much money to spend either, he had always done what he wanted to do – seeing the world, playing records in clubs, managing DJs and having a good time. That was my eureka moment: I knew I had to do it now or accept that I never would.”

Tim and family sold their
South London house and hit the road in a motorhome, driving round the UK in search of the perfect place to create the perfect record shop, dropping anchor in gorgeous Richmond, North Yorkshire. (Their adventures are documented in a thoroughly entertaining blog, “I fell for the town and the premises instantly,” Tim adds. “It’s beautiful, in a glorious part of the country, and it seems, to me, to be a little bit of a secret. BLUES NIGHT will be a secret within a secret; a shop that’s not a shop, tucked away in a courtyard out the back of a Georgian terrace, the entrance hidden under a jungle of clematis.”

Tim’s commute certainly sounds enviable. “I decided it was going to have to be a premises inside my own home for a few different reasons,” he explains. “First, even if it was in a prime city-centre retail location, there would have been times when I’d be sitting there on my own drinking coffee in the morning thinking: ‘I might open up a couple of hours later tomorrow’. I got talking to a guy who’d started a shop stocked with his own collection several years back, who said he had essentially swapped thousands of brilliant records for a few years of rent payments to somebody he hated. The flip side of this is that I hope I might be getting phone calls from people saying they’ve come two hundred miles for a browse, so is there any chance I can get out of bed and let them in?”

It’s taken a few months to get BLUES NIGHT ready, not least because of the need to provide accommodation as well as a comfy sofa. One important aim is to be a community hub in his adopted home town. “Wherever we went, we were always looking for a place we could sit down, have a drink, have a chat with somebody who knew the place a bit, all of that stuff. Now I want to provide that place. The shop and the town should have a mutually beneficial relationship –the shop should be a good place for locals or visitors to go, but also be a reason for a few people to want to visit the town, and then while they’re here, they’ll discover what a nice place it is.

Looking around the beautiful space that he’s created, Tim reflects on what BLUES NIGHT means to him. “This is all about getting these great records I’ve been collecting for 30 years or so off the shelf, and into people’s hands. Out of the sleeves and onto the platter. Taste is subjective, of course, but this is certainly stock of a higher quality than you would usually find in a second-hand shop. Obviously, I need it to make a certain amount of money, so that I can pay the bills, but the need to make money has never been the driving force behind this project. I’ve always said I will have failed the moment I find myself looking at a visitor and thinking: ‘Are you going to buy anything, or not?’”

Shopping list

Tim picks eight greats from his substantial personal archive, all part of Blues Night’s stock. From fingerpicked guitar wizardry to hip-hop and back, via folk, blues and gospel. 

Bert Jansch 
Bert Jansch
“A young man and an acoustic guitar. A collection of pieces of music recorded in a kitchen that could very well be the best album ever.”

Dirty Mind
“Can I choose the tape? Succinct pop perfection. Bang, bang, bang, bang. Four great songs. Flip it over, and bang, bang, bang, bang. Four more.”

Rolling Stones
Beggars Banquet
“The Stones are my favourite band. My favourite Stones album cycles through Exile, Let it Bleed, Sticky Fingers and this. At the moment, it's this.”

Various Artists
I Have To Paint My Face
“I honestly consider Chirs Strachwitz's recordings for his Arhoolie label to be the single most important body of work in the history of human civilisation.”

Silent Introduction
“An album of house music that stands up to close scrutiny. Every track has a soulful musicality, an urban toughness, and a rhythmic intensity.”

Various Artists
Sorrow Come Pass Me Around
“A remarkable blues and spirituals recorded in the Sixties. It took me years to track down a copy. Then, predictably, it was reissued.”

The Champs
“I suppose I feel the same about 78s as some younger people feel about vinyl. A good party tune, on shellac, is just automatically cooler.”

The Ganja Kru
Super Sharp Shooter

“My kids really couldn't give a monkey's about my records in general, but this is one track I have often blasted out and made them dance.”

Thursday, 6 December 2018

I Have a Dream

I sent this message to my friend over a week ago. He hasn’t replied yet, for some reason.

We were supposed to read Freud on dreams as part of Cultural Studies, but if I remember correctly I didn’t bother. To be quite honest, I doubt this blog will suffer from the lack of support from his theoretical framework as it’s bound to be all about sex, and it’s very unlikely that there’s anything in my dream as a result of any crumbs of sexuality that haven’t yet been hoovered up. Dream Me was even reluctant to rub the diaphanous mini-skirts against my shitty arsehole.

The only analytical machinery I’m able to employ is that espoused by Philip Schofield as Joseph out of the Bible. Basically, he theorized that everything in a dream is a metaphor – seven skinny cows for seven years of famine, for example (although I’d be interested to hear from anybody who believes that they can count in a dream - I can’t count, or read, or do anything that requires looking closely and processing information. Probably because there’s nothing to see there.)

So, yes, metaphors. For a start, I’d guess the seventies-style supercomputer represents the records I have picked up over the last thirty years or so, which I haven’t yet sold or traded. All of these are now for sale in a barn on Frenchgate in Richmond, and although only about half of them date from the Seventies or earlier, I’d guess they could easily be represented in my subconscious by a single huge, underused object that is being carefully broken up into little pieces. It makes sense that my reply-shy friend was there in a supervisory capacity, as he worked in the same record shop as I did decades ago. And he trained as an electrician, so he is probably overqualified for his role in my dream.

The gondola I saw in close-up was, of course, our van. The idea of the pieces of the supercomputer being taken to an unspecified place far away for a new purpose is exactly where this blog started, which would suggest that the arrival and the hatching is the point in the whole chronology at which we find ourselves now. The tortoise-people can’t possibly represent my customers, though. I don’t yet know them well enough to be that rude about them. They have arrived in ones and twos, and one or two larger groups, and enough of them have wanted to buy something that I would have to consider my first three weekends to constitute an encouraging start. I am talking about customers here, not tortoise-people.

And the whole scenario might be seen to spring from the idea that by finally getting BLUES NIGHT open, I haven't finished, I've only just started on something. It really is just me selling off my records in an every-weekendly yard sale at the moment (Friday, Saturday and Sunday 12-7, come on in, you know you wanna.) The fact that it looks a bit like a shop, or a bar, or that it is in fact the only place in Richmond where you can buy records and drink microbrews, shouldn’t be of any interest to whoever calculates the rateable values of previously disused slaughter barns in North Yorkshire, as I’m not producing any waste or encouraging people to park on our street. But everything that has been achieved so far is only really relevant if it leads to something else. I’ve talked to custies about live music in the courtyard, temporary events notices making it possible for me to actually make some money out of the five beers I’ve been brewing (which have been very well received so far, and of which I am rather proud, actually), about a little niche music film night, and a bunch of other things that I’d probably do better to keep under my hat.
This would suit me very well as I’ve spent more than is healthy of the last few months contemplating my own inevitable doom. A friend's death precipitated my decision to go through with all this, and once I had arrived at what I've always thought I wanted, it became clear that if I don’t know what's next, there’s not a lot of squares left on the board. Naturally, I figured out that I have to make plans for what's next before the devil starts making plans for me, and that's where this dream slides smoothly into your typical anxiety-driven scenario.
You know how you get those dreams that you're still at school, or college or whatever, and you haven't done your homework / essay / getting dressed? Those don't happen for me nearly so much since I stopped spending most of my waking hours in an educational establishment. But for a while in the van I still got the standard teacher anxiety dream - a class of unmanageable children driving me to the point where I yell JUST SHUT THE FUCKING HELL UP and then they all look at each other and grin and chortle because they know that they’ve won. Now this, too, seems to have passed, and the DJ fail – something else I’ve stopped doing since leaving London – has come to take its place. Except that in the dream I don’t remember getting anywhere near the decks or having any records. Only the sitting on the toilet and the having done a poo, which is perhaps a metaphor in itself for some of my last few gigs.
Why didn’t my friend show up at the dream party? Is it because I’m a little lonely, having left so many familiar faces far away? What on earth was he doing, sending Indian servants to attend to me? Have I become a stupid racist in eight months of provincial living? I now realise that was never going to happen. I certainly wasn’t going to let them wipe my arse for me.

But this was just a dream. BLUES NIGHT was MY dream, and now it’s a reality. Come and have a look. I know you can’t see my legs behind the ‘shop’ counter, but I promise you, that’s a standard swivel chair I’m sitting on.

(Photo by Gullwing Photography)

Saturday, 29 September 2018

Six Days On The Road

So, obviously, the builder turned up later that same day, when he was ready. He achieved more in one afternoon than I have in my life so far, I think. Other builders came and went, exactly when they wanted or were able to. It is remarkable how quickly they get things done once they actually get started. 

Whole walls disappear and new ones reappear in fractions of a day. Big ugly holes gape in the sides of buildings and are filled with something that looks so much better than what was there before that the whole structure seems to benefit. Builders take a long time to get started, get loads done with astonishing speed, then disappear for a matter of weeks until you think they might have forgotten you, before returning just in time to make you realise that just because they work quickly, it doesn’t mean that they won’t take even longer to get finished than they did to start.

And it should be finished very soon. And then I will realise that I have a hundred things to do that I could have been doing while wondering where the builders are. Meanwhile I’ve been off on a mission in my beloved Vanny, picking up about a thousand 78s that were once the playground of the shortlived Ivy House Gramophone Appreciation Society, meeting up with family and friends in Thanet, the home of Thanos, and exploring some very good record shops. In Camden Town there was a get-together of my former MVE colleagues after the funeral of a genuinely lovely bloke whom I would really like to have seen more in the twenty years since I left. These are the milestones that punctuate the journey all of us are making, I suppose, and serve as reminders that if there was anything we were meaning to do, we had better get on with it.

I returned home to a family that appeared to be pleased to see me. I’d been gone the best part of a week, at the far end of the country, and they had been plugging away at the day-to-day business of work and school. It was time, therefore, for me to start pricing some records. This is a much slower process than it was in the Twentieth Century, as the Internet is always nagging at one not to just use that combination of a little knowledge, a chunk of guesswork and an occasional phone call to the Soul Basement. In my determination not to value style over substance, I’ve had to think very hard about my pricing policy because I don’t want even one record to make me look like a chancer, or worse, a mug. But presentation is important too, and although I never liked plastic sleeves when my records lived on a shelf, they are essential now they’re moving into crates. There were surprisingly few records bearing the infamous unpeelable grid stickers of yore, but I’ve still gone through a tin of Ronson lighter fluid in the course of their careful removal. And I thought, Why didn’t I do this before? God – they look so much nicer.

It’s those same two interchangeable quantities again – time and money. The plastic sleeves for the starting stock in the shop cost me something over two hundred quid. And the removal of every MVE sticker takes at least a few minutes. On a nice old matt-finished papery seventies sleeve, it can be much, much longer. Record and Tape Exchange stickers and their descendants were designed to be unpeelable, to prevent dodgy punters from trying to swap them to get their records at a better price (which would only actually result in the record being lost in the file.) Leave them in place for the gum to ossify for, say, twenty to thirty years, and they can become very tricky to shift indeed. Attempt to peel them off without adequate resources and technique and you get a torn sleeve. As a result, there are millions of records out there sporting an ingenious grid for price reductions that is uniquely ugly and devoid of any rosy nostalgia. But you won’t find them for sale in BLUES NIGHT.

And it occurs to me that if this blog can achieve something useful for once in its life, maybe it could help, or at least motivate, you to remove these stickers from your records, exposing their natural beauty and liberating them from their memories of incarceration in dusty racks and repeated fingerings by daily regulars patiently waiting for the next round of reductions.

1. Soak the sticker in lighter fluid – the sort you once used in your Zippo. Really give it a proper dowsing, think Hendrix at Monterey. It will all evaporate eventually.

2. But you don’t want it to evaporate yet! It needs time to have its solvent way with the ancient adhesive. Cover the sticker with something firm and smooth made of plastic. A CD slipcase is perfect.

3. Leave it to soak for as long as you can bear. For me, this is about five minutes. I like to listen to the record and reflect on how seven quid was quite a lot of money in them days, or appreciate the evocative petrochemical aroma and think about how cool smoking used to be. Do not listen to anything with a drum solo, as this creates the illusion that a great deal more time has elapsed than what has in reality.

4. Peel the sticker slowly and carefully, hoping it doesn’t just give up its top layer (in which case go back to the start) or rip the sleeve anyway (in which case contact my lawyers.) If you have only stopped smoking in the new millennium, ask somebody with fingernails to do this for you. If the record in question is an eighties or nineties reissue as pictured, the sticker might all just come off in one go. But it’s more likely to leave bits and pieces behind that need to be soaked and scraped at all over again.

5. Even if it does all come off in one go, it’s fairly certain to leave behind an unpleasant greyish gummy residue that will still look really shit. I like to use even more solvent on this, rubbing it in with my abrasive fingertips, calloused to a perfect level of friction from decades of playing the guitar and never getting any better at it. Then, the spermy gloop of petrol and glue can all be removed with a few firm rubs of a softish cloth. Or if you don’t have one to hand, try the cuff of the hoodie you wore every day while living in a van, dreaming of a day when you can achieve something very worthwhile, just as you are making it look like you wipe your nose on your sleeve. 

Thursday, 30 August 2018

Act 3, Scene One: The Builder

(A small town in North Yorkshire. An ancient barn stands empty, waiting for its destiny to become clear. It is Springtime.)

ME: D’you think we can get the job done in time to open for the Summer months?

BUILDER: Oh, yes.


ME: I’d still like to be able to open some time in August. Will that be possible?

BUILDER: I would think so.

(Early August)

ME: Could you let me know when you will be able to start? I really want to be able to arrange some time away with my family while you are working on it.

BUILDER: It will definitely be in August.

(Late August)

BUILDER: This is the guy who is starting on the floor on Thursday. I won’t be here, I’m off on holiday with my family. I hope 8 o’clock isn’t too early for you?

ME: No, of course not.

(9.28 am, Thursday 30th August)

ME: (Alone, typing this.)

Wednesday, 8 August 2018

Has Your Record Shop Opened Yet?

This was a strange question to be asked by my oldest friend. If he doesn't know, then who does? I thought. Um, maybe nobody knows. Maybe nobody even expects me to open a record shop after all. 

I haven’t had much to write about here, because a blog about waiting for a reply from a builder who clearly wants the job but isn’t in any hurry to get started really wouldn’t fire anybody’s imagination. So the long process of deciding where we are going to go and do this gets forgotten about, and now everything about this venture is low-profile and little-discussed. 

For a start, I left the vast majority of the folks I knew behind me in London. Although I’m loathe to judge people by my own terrible standards, one of the things I was looking to escape was London’s enormous gravity. How can I realistically expect people I knew in London to want to follow me two hundred and fifty miles out here to look at my records?

Before leaving London, I had a phone stolen and was made to give up its passcode at knifepoint. They also took my house keys and I got a little paranoid. I deleted all the content from the website I'd been tinkering with for eight or nine years, went as quiet on social media as I have been in all that time, binned all my old emails, lost my shit at the network for how unhelpful they were, and lost most of my contacts too. Very few of the people involved made any effort to be reinstated, but I can’t blame them as I’m sure I’d be the same.

This blog was intended to provide record shop updates to anybody who wanted them, but it has lived a quiet life, like a hermit crab. Occasionally some social media platform picks it out of the water for a while so a few people can look at it, but it spends most of its time scuttling around on the seabed, unnoticed by the other inhabitants of the salty blog ocean.

Before, during and after this transition, every conversation I have had about retail, business and the economy has revolved around how difficult it is to make enough money for one’s efforts to be considered worthwhile.

And yet the question is, has my record shop opened yet?

I've got to know this bloke in the town who plays the guitar like nobody I've ever heard. I’m determined that within a year you will be able to buy his d├ębut solo album from me on a pleasant-coloured compact audio cassette, perhaps presented in an oversized cardboard box with a bit of tissue paper and a hand-painted postcard of my bestest abstract art. He, for his part, doesn’t seem even faintly interested in this idea, and told me to stop stressing about opening my shop. He said that being ready for business within six months of arriving in North Yorkshire is the behaviour of a man in a terrible hurry.

The van went for its MoT in May. There was a little dog in the office. The lady owner said they were going to be away next week, so it would have to be the week after. I said this was fine. I went to see the man who had it up on the lifty thing two weeks later and he showed me rusty holes in the chassis that were big enough to fit your fist through. He guessed the last three or four tests had either missed or overlooked them. They’d need welding, he said, and a new piece across the front that just bolts on. It wouldn’t be cheap. I asked him if he would do it. He said he couldn’t do it next week, they were going to be away. I decided it wasn’t any of my business how often they went away.

So he passed it on to his friend down the road. I heard nothing for a week, so I went looking for it. It was parked shoulder-to-shoulder and nose-to-tail with a load of other vehicles, looking rather sad. “That’s my van. I don’t suppose you’ve had a chance to start on it yet? I’m not in a hurry or anything, just wanted to know where it was. And say hello.”

Two weeks later, I went again, and saw Vanny in the same spot.
I thought you said you weren't in a hurry?”

And all of a sudden, it was done. A brilliant job, at about a quarter of the price I had been expecting, in his own time. I’m hoping I’ll get the same from the builder, who doesn’t even reply to my questions about time-frame nowadays.

My guitarist friend said he had a bloke come round to look at some building work when he first arrived here. This guy spent the evening with him and his family, laughing, joking, telling old stories and drinking cups of tea. He said he'd be back in a few days to measure things up and they never saw him again. “That was twelve years ago.”

Friday, 22 June 2018

BLUES NIGHT's trip to London

So it seems that I brought upon this blog the evil Curse of the Promised Post. I did type out what I wanted to communicate to the universe about the various Italian restaurants we visited on the tour, but when it was finished I couldn’t bring myself to post it. Not because it was shit and boring (it was, but that has never stopped me before), but because the retrospective angle just made it seem really irrelevant.

The tour came to an end three months ago now, and the big question we were asking got its answer. Whether that was the right answer or not still isn’t quite clear. The blog isn’t about driving around in a weird little motorhome anymore, but about opening a weird little record shop. We’ve slowly but surely sorted this and that, dickered with builders and plasterers and painters, and the shop is going to be ready for business some time this summer. Mine ears have heard the glory of the compact audio cassette for the first time in decades, and I have enthusiastically embraced this extra element of my emerging empire.

Then I was invited back to London to play some records on an Internet radio station. So I got in Vanny, and drove the hundreds of miles to my destination, where I parked up and proceeded to get heroically drunk. The results can be heard here.

Monday, 30 April 2018

Blues Night on Tour by Numbers

0 parking tickets received. I consider this recognition of impressive commitment to toeing the line.

1 is the number of months we have now lived in Richmond, North Yorkshire. The sense of doom has passed (for me, at least – I don’t like to ask the others) but it still feels pretty weird, like we’re on the witness protection programme or something. I’m yet to lift an arm with a paintbrush or roller in it (M has managed rather better), but it is starting to feel like home. To me, at least. The boys both start back at school today and we’ll all be able to put the sorry debacle of Home Ed behind us. There was me thinking I was well qualified to home- (van-) educate my children, but it turned out I was the worst possible candidate for the role.

I’ve developed a morbid fear of education’s Nothing Is Ever Finished philosophy. Too many times when the boys were sat at the table in the van with their books in front of them I accepted their bare-minimum, path-of-least-resistance, typical-boy-approach to work. I think I just don’t want to still have to say, “Yes, but how can we improve on this?” Not to anybody, but certainly not to my own children. After all, I’ve just spent about a year telling them I was done with striving to meet the demands of a world that was offering me peanuts in return.

Admittedly, though, I’d probably have had even less success trying to inspire them with the sorts of things that light my fire. At the time of writing, neither of my sons could possibly imagine something that interests them less than a secondhand record shop. This is par for the parenting course. There have been many less formal, measurable gains made in their development and progress, and they both read more and played together more imaginatively in the last nine months than the rest of their lives combined. They’ve also learned a lot about what England is like, and it’s been mostly good news.

2 record store day exclusives purchased – this is two more than all previous years combined, as I’ve always thought it was just a gimmick. I’m still more or less of the same feeling, but the legendary Sound It Out records had organised themselves very effectively to minimise the hustling opportunism. Stockton was quite the experience after what I’d said about avoiding towns we expected not to like very much, but there were lots of kids enjoying themselves in the fountains, in addition to the great record shop and somewhere to drink really good beer.

Richmond, by way of a contrast, has neither, despite one of our visitors declaring it enormously middle-class. It does have a lot else going for it though. People have been very friendly, I really enjoy the best-kept secret thing about it (very few people from outside of this part of the country seem to realise that this great little town exists) and the opportunity to provide good beer and good records seems like it might be worth the effort.

I’ll know when M has reached the next level in her adjustment – when she recognises that the fact that the alleyways of Richmond do not smell of piss isn’t just ‘weird’ but is actually a good thing. Also, we saw the kind of litter that sets my lips trembling for the first time when my brother was in town. It was that sunny Saturday last week, and lots of young locals and sort-of-locals had been having a good time in the sunshine by the river. The boys were all muscly and the girls all had eyebrows the size of my beard. And not one of them, it seems, thought it might be appropriate to take their litter home with them. But a few grumbles on the Facebook group later, and all this trash miraculously disappeared. Next time there’s a community litter pick going on, I WANT A PIECE OF THE ACTION.

7 visitors we knew from our former lives have crossed our new threshold, four of whom have stayed the night. This has been a huge factor in helping us to settle, of course. We are eager for more, especially people who might be able to give us some feedback on our accommodation before we advertise it to the public. Applications can be submitted in the usual way.

8 Italian restaurants enjoyed. I think this might be better discussed in some detail. I’ll knock up another post later this week.

35 counties visited – or that’s how many we stayed overnight in. All of the others we just passed through, or perhaps stopped in briefly during the daytime. A favourite one of these was a stop for diesel and sandwiches in February, when it occurred to me that I was getting out of the van in Northamptonshire for the first time. Just to check, I asked the young woman behind the Subway salad selection what county we were in. She said she didn’t know.
60 percent of what we rub into our skin enters our bloodstream, according to a lady giving a facial at the food market in Abergavenny. I have no idea how accurate it is, but I walked past just in time to absorb this tidbit and it went straight to my brain. The next morning, it returned as I energetically fisted the U-bend of the public toilet I had just emptied Vanny’s toilet cassette into, in the process blocking it with a thick sludge thanks to our brief flirtation with inferior toilet chemicals.

The brand I would like to name and shame is the kinda-racist-sounding Crusader, which proved even less effective than the experiment with biological washing liquid M had insisted upon at the beginning. (I had soon brought this episode to a close when I figured out that I was always going to be the one actually emptying the fucking thing.) I never had even the tiniest problem with Thetford Blue and Pink liquids, and consider them the Technics 1210 Mk2 of making shit easier to pour.

132 / 71 my average blood pressure as measured over the last week. This is still not exactly Sir Mo Farah digits, but is a long way down on what I was told it was around the time I pressed the ejector seat button on my teaching career. I should imagine that most of the difference is about a very gradual slide down the fireman’s pole of stress levels, but I probably drink a bit less beer and eat less salt too. There remains room for improvement.

210 nights sleeping in the van. The boys missed a few, and M several more, when offered a proper level bed in a warm building instead, and who can blame them. I’ve added two more since moving - the sense of freedom that Vanny affords, being able to drive somewhere for a night out – (Norwich to see Crow Black Chicken last week, Harrogate the other night to see Mike Ross) is wonderful. I can go somewhere, parking in a different town just as I did on the tour, and not have to worry about getting home until I’ve sobered up the next morning. This would be a great way to live for a single person in their twenties with a bottomless purse and a rubber liver, but if I keep going for nights out I’m going to keep spending lots of money and drinking lots of beer, neither of which were part of my five-point plan moving forward.

9274 miles travelled in the World’s Best Compact Motorhome. I still hope to add more from our new base, but it seems that if I want a steady flow of content, I’m going to have to turn this into a blog about opening a record shop rather than living in a van. Most of the miles were clocked up going from one place to another, but a few have been added going back somewhere for another look, or more recently by ferrying 4000 records to their new home in the North. If Vanny had wings, and she could fly, I know where she would go. This many air miles could have taken us to Rio de Janeiro. But we would have had to stay there even if we didn’t like it, and adapted to their language, customs and punishing standards of pube management.