Magazine Secondhand Daylight 1st Press 1979 Vinyl LP V 2121 Howard Devoto VG+/VG

	£		19
	$		25

Magazine Secondhand Daylight 1st Press 1979 Vinyl LP V 2121 Howard Devoto VG+. Condition is "Used".

FREE FOR UK - Will Post Worldwide, but only International Tracked & Signed - I’ve put 25 Pounds as a benchmark price Worldwide - But contact me first before paying to let me know where you are in the world and I will work out a price for you and change the price accordingly.
 
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VINYL = VG+ Record surfaces may show some signs of slight wear, but they don't affect the listening experience and are of a cosmetic nature only. I have cleaned and play-tested both sides of the record and it plays really well and still sounds great!

SLEEVE = VG = It has signs of wear around the edges and a couple of scuffs on the front cover, plus where the price label was removed. The sleeve and the label also have Richard Ware written on the top left hand corner of the back of the sleeve and Side One of the central label. It's not prominent on either, but I should point it out. The sleeve on the whole though is strong, has no splits or tears and is in VG condition.

PLEASE SEE PHOTOS AS PART OF DESCRIPTION

I'm selling a lot of my vinyl and CD collection, because the kids are getting bigger and the house is getting smaller! Basically, it was either the kids or the records, sadly the coin came down tails...Thanks for looking!

ONLINE REVIEW
Secondhand Daylight, the second Magazine album, sounds like it must have been made in the dead of winter. You can imagine the steam coming out of Howard Devoto's mouth as he projects lines like "I was cold at an equally cold place," "The voyeur will realize this is not a sight for his sore eyes," "It just came to pieces in our hands," and "Today I bumped into you again, I have no idea what you want." You can picture Dave Formula swiping frost off his keys and Barry Adamson blowing on his hands during the intro to "Feed the Enemy," as guitarist John McGeoch and drummer John Doyle zip their parkas. From start to finish, this is a showcase for Formula's chilling but expressive keyboard work. Given more freedom to stretch out and even dominate on occasion, Formula seems to release as many demons as Devoto, whether it is through low-end synthesizer drones or violent piano vamps. Detached tales of relationships damaged beyond repair fill the album, and the band isn't nearly as bouncy as it is on Real Life or The Correct Use of Soap -- it's almost as if they were instructed to play with as little physical motion as possible. The drums in particular sound brittle and on the brink of piercing the ears. Despite the sub-zero climate, the lack of dance numbers, and the shortage of snappy melodies, the album isn't entirely impenetrable. It lacks the immediate impact of Real Life and The Correct Use of Soap, but it deserves just as much recognition for its compellingly sustained petulance. Even if you can't get into it, you have to at least marvel at "Permafrost." The album's finale, it's an elegant five-minute sneer, and as far as late-'70s yearbook scribbles are concerned, "As the day stops dead, at the place where we're lost, I will drug you and f*ck you on the permafrost" is less innocuous than "All we are is dust in the wind."
'Secondhand Daylight' is an unmistakably new wave album, unquestionably a product of its time but still sounding totally relevant and new. The aforementioned Radiohead reference was intentional: Magazine were ploughing the same alienation furrow nearly two decades earlier, and with much of the same instrumental and dynamic materials at their disposal.