I am starting a new weekly feature called “This Week In Music History,” which will be posted every Sunday. I will list the birthdays first and then assorted dates and historic events, some interesting, some amusing and some that may be sad. Obviously, my time and space is limited so this will not be an all-inclusive list, but I hope that everyone finds this to be an interesting feature. That said - let’s roll with the first of many:
Sunday April 5
Mike McCready - Pearl Jam (1966)
Dave Holland - Judas Priest (1944)
Crispian St. Peters - "Pied Piper" turns 65
Billy Bland is 77
Agnetha Faltskog - ABBA is 59
In 1981, Canned Heat vocalist Bob "the Bear" Hite died from a heart attack at the age of 36. He helped bring the sound of American blues to rock music.
R.E.M. guitarist Peter Buck was acquitted of air rage charges in 2002. Buck was alleged to have gone on a drunken rampage after drinking 15 glasses of wine during a transatlantic flight to London in 2001.
In 2002, Layne Staley died of a drug overdose, eight years to the day after Kurt Cobain committed suicide. The Alice in Chains singer's body was not found until several days later.
Kurt Cobain (Nirvana) killed himself with a shotgun in 1994. He was found three days later.
In 2005, Aberdeen, Wash., added the legend "Come As You Are" to their "Welcome to Aberdeen" sign on the 11th anniversary of Kurt Cobain's death.
The late Tony Williams of the Platters ("Only You") was born in 1928.
Gene Pitney died of a heart attack while on tour in Wales in 2006.
In Danny Rapp of Danny & the Juniors ("At The Hop") died of a self-inflicted gunshot.
A tornado killed 235 people in Tupelo, Mississippi in 1936. Significant? Certainly was, because one year-old Elvis Presley and his family survived.
The Searchers appeared on "The Ed Sullivan Show" in 1964. They were the first British Invasion group to appear on the show after the Beatles. It was the Searchers' U.S. debut.
Led Zeppelin released their seventh studio album, "Presence" in 1976.
In 1985, an estimated 5,000 radio stations around the world simultaneously played the song "We Are the World."
Construction began on the Rock and Roll Hall of Fame in Cleveland in 1993.
Colin "Cozy" Powell died in a car crash in 1998. He was 50 years old.
Monday April 6
Markku Lappalainen – Hoobastank (1973)
Frank Black - The Pixies (1965)
Michelle Phillips -The Mamas and the Papas (1944)
John Stax -The Pretty Things (1944)
Merle Haggard (1937)
Capitol Tower, the home of Capitol Records in Hollywood, CA, was dedicated in 1956. It was the first circular office tower designed in America. It is 13 stories tall and 92 feet in diameter.
Elvis Presley's "All Shook Up" was released in 1957.
Apple Corps Ltd., the Beatles' record company and management and publishing firm, opened in 1968.
In 1968, Pink Floyd announced founder Syd Barrett had officially left the group due to his suffering from psychiatric disorders compounded by drug use.
Wendy O. Williams (The Plasmatics) committed suicide in 1998.
"Ladies and Gentlemen: The Rolling Stones" opened at New York City's Ziegfeld Theatre in 1974. It was the first concert film to feature a soundtrack in quadraphonic sound.
The Rolling Stones record label (with the infamous "lips" logo) debuts in 1971.
Guitarist Niki Sullivan, a one-time member of Buddy Holly & the Crickets, died in his sleep in Sugar Creek, Michigan in 2004. He was 66.
Billy Joel cracks the top 40 for the first time in 1974 with "Piano Man."
The Beatles' Anthology Volume 2 went to #1 on the U.S. albums chart in 1996.
The first lady of country music, Tammy Wynette, died in 1998 (age 56).
In 2000, the Black Crowes were sued by an Ohio teenager who claimed he suffered permanent hearing damage from sitting in the second row of a 1999 concert by the band. Uh, it’s a concert, the music is supposed to be loud.
The Beach Boys recorded "California Girls" in 1965.
The Kingsmen recorded "Louie Louie" in 1963.
In 1962, the Russian newspaper, Pravda warned Communist youth about the dangers of doing the twist.
Tuesday April 7
The late Bruce Gary -The Knack (1952)
Grateful Dead drummer Bill Kreutzmann was born today in 1946.
John Oates -Hall and Oates (1949)
Mick Abrahams -Blodwyn Pig, Jethro Tull (1942)
Patricia Bennett - The Chiffons (1947)
Billie Holiday - Jazz singer (1915)
Ravi Shankar - sitarist, was George Harrison's sitar teacher (1920)
Bobby Bare ("Detroit City") was born in 1935.
Janis Ian ("Society's Child") turns 58.
In 1988, Alice Cooper nearly hangs himself for real at a concert rehearsal when a safety rope breaks.
Ritchie Blackmore leaves Deep Purple to form Rainbow in 1975.
Mick Jagger & Keith Richards meet Brian Jones for the first time in 1962 at a London jazz club.
"Raindrops Keep Falling On My Head" from "Butch Cassidy And The Sundance Kid" wins the Academy Award for Best Original Song in 1970.
America braced itself for an electronica invasion in 1997 as the Chemical Brothers released their second album, Dig Your Own Hole. It peaked at #14 in the Billboard chart.
John Lennon recorded "Give Peace a Chance" in his Toronto hotel room in 1969. It becomes his first solo single.
In1987, after preacher Oral Roberts informs his TV congregation that God will kill him if he doesn't raise $1 million in donations, rock funnyman Ozzy Osbourne sends him a dollar to be put toward psychiatric treatment.
In 2004, The International Federation of the Phonographic Industry reported that global music sales fell 7.6 percent over the last year. They blamed the slump on piracy, poor economic performance, and the rise in DVD and video game sales.
An Amsterdam university began offering a course entitled "Madonna 101” in 1997.
In 1956, CBS Radio premiered Rock 'n' Roll Dance Party, hosted by DJ Alan Freed. It's the first nationally broadcast rock 'n' roll radio show.
Wednesday April 8
Izzy Stradlin - Gun's 'N Roses (1962)
Julian Lennon (1963)
Dave Rountree - Blur (1963)
Peter Case - Yes (1947)
Steve Howe - Yes, Asia (1947)
Mel Schacher - Grand Funk Railroad (1951)
Chris Frantz - Talking Heads, Tom Tom Club (1951)
J.J. Jackson ("But It's Alright") is 68
In 1994, Kurt Cobain (Nirvana) was found dead at the age of 27. He had committed suicide three days before.
In 1971, Chicago became the first rock group to sell out a week of shows at Carnegie Hall in New York City.
Neil Young premiered his home movie collection Journey Through the Past today at the U.S. Film Festival in Dallas in 1973. Young explained the film as "a collection of thoughts," adding that "every scene meant something to me - although with some of them I can't say what."
Aerosmith released "Toys in the Attic" in 1975.
Wango Tango- In 1996, In Lansing, Mich., rocker Ted Nugent gives an archery demonstration. He says the sport is an excellent distraction for kids, as opposed to taking drugs.
In 1977, the Damned became the first English punk group to play New York's famed club CBGB. At their hotel, they discover that the Rolling Stones have left them a birthday cake, seven meringue pies, and three prostitutes.
Van Halen began their first world tour in 1979.
Forty-nine year old Laura Nyro died of ovarian cancer at her home in Danbury, Conn in 1997. A profound concert artist, she also wrote an array of hits for others, including "And When I Die," "Stoned Soul Picnic," "Stoney End," and "Eli's Comin'."
The Supremes recorded "Where Did Our Love Go" (their first #1 single) in 1964.
Thursday April 9
Kevin Martin - Candlebox (1969)
Joe Peters - Grant Lee Buffalo (1965)
Mark Kelly – Marillion (1961)
Hal Ketchum - Country singer (1953)
Les Gray - Mud (1946)
The late Carl Perkins ("Blue Suede Shoes") was born in 1932
Emil Stucchio of the Classics ("Till Then") is 64
Percy Sledge's "When A Man Loves A Woman" was released in 1966.
In 1984, R.E.M. released their second album,” Reckoning.”
At the Oscars in 1984, Irene Cara's "Flashdance ... What a Feeling" wins Best Original Song.
In 1973, Paul McCartney released the song "My Love."
Queen had its debut performance in 1973 at the Marquee Theater in London.
In 1976, renowned protest singer Phil Ochs hangs himself at his sister's house in the Far Rockaway section of New York. He was 35.
Gene Vincent recorded "Be-Bop-a-Lula" in 1956.
King Crimson made their live debut in 1969 at London's Speakeasy.
In 2004, lawyers for "Cheeseburgers in Paradise" singer Jimmy Buffett force a Maryland hamburger stand owner to change the name of his eaterie from "Cheeseburgers 'n' Paradise" to "Beef 'n' Buns 'n' Paradise."
In 2003, Linkin Park retained the #1 spot for a second week with their Meteora album. Detroit rockers the White Stripes have the highest new entry with Elephant lumbering in at #6.
That’s just sick #1- In 1989, Rolling Stones bassist Bill Wyman, 52, announced that he was engaged to 19-year-old Mandy Smith, whom he had been dating for six years.
That’s just sick #2 – In 1998 Former Wham! singer George Michael was arrested at Will Rogers Park in Beverly Hills, Calif., after allegedly performing in a lewd act in a public restroom.
Dave Prater of Sam & Dave ("Soul Man") dies in a car crash near Sycamore, Georgia, 1988
Paul McCartney quits the Beatles in 1970 (the group's breakup was announced to the press the next day).
In 1964, Capitol Records reached an out-of-court settlement with Vee-Jay Records over Beatles records it claimed the latter did not have the right to release.
Friday April 10
Reni - Stone Roses (1964)
Brian Setzer - Stray Cats (1959)
Steven Gustafson - 10,000 Maniacs (1957)
Dave Peveret – Foghat (1950)
Innovative Funkadelic guitarist Eddie Hazel, who wrote the band's classic "Maggot Brain," was born in Brooklyn, N.Y. in 1950.
Tim "Herb" Alexander – Primus (1965)
Kenneth "Babyface" Edmonds was born in Indianapolis in 1959. As well as having hits of his own like 1994's "When Can I See You," he has written songs for Boyz II Men, Mariah Carey, Mary J. Blige, Paula Abdul, and many others.
Bunny Wailer, one of the original Wailers, who kicked off a successful solo career with the 1976 album Black Heart Man, was born Neville O'Reilly Livingstone in Kingston, Jamaica in 1947.
Original Beatle Stuart Sutcliffe died in Hamburg in 1962. His artistic ideas and close friendship with John Lennon had a lasting influence on the band. In fact, Sutcliffe's picture appears on the cover of Sgt. Pepper.
In 1970, Doors frontman Jim Morrison asked a concert audience if they would like something belonging to him that rhymes with "sock." Fortunately, Ray Manzarek carries him off stage before he can find what he's alluding to.
Bobby Darin recorded "Splish Splash” in 1958.
Mickey Hart joined the Grateful Dead in 1968
Leo Fender patented the Stratocaster guitar in 1956.
Chuck Willis died of peritonitis in 1958. As well as popularizing the rock anthem "C.C. Rider," the self-styled "King of Stroll" wore a turban on stage.
Isaac Hayes won an Oscarin 1972 for the Best Music, Original Song award for the song "Shaft.”
In 2000, Sony Music Entertainment announced that it planned to make its first commercial digital downloads available to U.S. consumers. Sony said it would offer about 50 hit songs from Lauryn Hill, Pearl Jam, Michael Jackson, Mary Chapin Carpenter, and others.
The late Sheb Wooley ("Purple People Eater") was born in 1921.
Little Eva ("The Loco-Motion") died of cervical cancer in 2003.
Emerson, Lake & Palmer was formed in 1970.
Peter Frampton's Frampton Comes Alive! topped the album chart in 1976, where it will remain for the next 10 weeks.
In 1994, in Seattle, 10,000 people gathered for a vigil for the late Kurt Cobain.
Courtney Love thanks them for their support and tearfully reads from Cobain's suicide note.
Saturday April 11
Chris Difford – Squeeze (1954)
Neville Staple - The Specials (1956)
Dylan Keefe - Marcy Playground (1970)
Joss Stone (1987)
The SPEBSQSA (Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America) was founded in 1936. I did not know that. Why not just call it MNWTH (Music Nobody Wants To Hear)?
James Brown debuts on the R&B charts in 1956 with "Please, Please, Please."
In 1961, Bob Dylan makes his first live performance in New York, opening for John Lee Hooker. The venue was Gerde's Folk City. Dylan airs some new material, including "Blowin' in the Wind."
Peter Green announced that he would be leaving Fleetwood Mac in 1970.
Savage Garden released their self-titled debut album in 1997.
Nirvana's In Utero album was certified double-platinum in 1994.
In 1967, on the way back from visiting the Beach Boys' Smile sessions, Paul McCartney dreams up the idea for the Beatles' film Magical Mystery Tour.
The late Richard Berry was born in 1935. He originally wrote and recorded the controversial frat anthem "Louie Louie," which became one of the most-covered songs in rock.
June Pointer of the Pointer Sisters ("Fairytale") died of cancer in 2006.
Paul McCartney gave a twenty-minute concert from the roof of a building he owns in London in 1997.
Big Brother & the Holding Company made their national TV debut on ABC's "Hollywood Palace" in 1968.
Ringo Starr guests on Fox-TV's "The Simpsons" in 1991.
Shooby-be-doo-be-doo-Frank Sinatra recorded "Strangers In The Night" in 1966.
Sunday, April 5, 2009
Music Industry Has Evolved
I was guided by the net to an interesting post and I certainly want to thank Marissa for allowing me to reprint her material. Obviously, things have changed since her post, but there are some very important and relevant points that are still true today. And Virgil, over at Suburban Home Records has turned into a mogul of sorts in the indie music scene and his love for vinyl is never so obvious. Thankfully the music industry has people like him and the indie artists that he works so hard to promote. Yes, vinyl records are here to stay....Here is the post in its entirety:
I filled out a resume for the Daily Camera today. In the process of filling out the resume I looked through some old articles.
This is an article I wrote for class in December of 2007.
local music and technology: what is the future?
Colorado’s Place in the Changing Music Scene
The living room at Rhinoceropolis would be pitch black if it weren’t for the Christmas lights strung from the rafters. The venue, which acts as a home in north Denver by day, could seem baron if it weren’t for the paintings hung on the wall. The building will get drafts of cold air, however, it’s hard to notice with each room filled with art, records, instruments and ashtrays. The body heat of dozens of young people crammed in the small living room acts as a barrier to the cold ridden outside. The audience sits still, watching in awe as a young man and woman sit on stools in front of them stroking acoustic guitars.
If music is dying, like many record industry officials have said, no one informed the crowd that braved the winter air to see the show. If music is dying, then local shows are making its last grasps powerful ones. Record industry officials say that the sky is falling, however, for local musicians and fans the sky is the limit.
According to USA Today, CD sales dropped 8% from 2004 to 2006, as downloaded tracks raised by 150%. In the first quarter of 2007 CD sales plunged by 20% compared to the first quarter of 2006. The sales drops have left record industry executives shaking in their boots.
RIAA president Gary Sherman told the San Francisco Gate, “”It’s obvious we have a very serious problem. Those are the revenue streams that have financed this industry, and they are shrinking.”
The record industry has done little to embrace the digitalization of music, in fact, record executives have fought to suppress it. Co-founder of What Are Records? and Vice President of Business Development for iggli.com, a music streaming website in the works, Ted Guggenhiem, , believes that the industry’s stubbornness put major labels in the boat they are in.
“They said, ‘here’s how you listen to music’, and they spent years trying to get peer to peer shut down. They lost control.” Guggenhiem said, “They fundamentally tried to force people to listen to albums, and they lost it.”
According to Guggenhiem, record labels sinking sales aren’t the only thing record labels need to worry about. They need to worry about their role in general. Since Radiohead self released their album in a digital format, the function of record labels has been in question.
“The record industry is dead,” Guggenhiem said, “Major Labels will be gone and indies will be in a similar boat.”
Players in the local music scene have been faced with drastic changes in the industry that pays their bills. Local record labels, musicians and innovators are coming up with ways to weather the changing tide in music, to keep their businesses alive and to embrace the digital revolution.
THE INTERNET AND THE EXPLODING LOCAL MUSIC SCENE.
Inaiah Lujan has been a local musician in Pueblo, CO for years. He has traveled across the country to play music multiple times, and played everywhere from bars in Athens, GA to sidewalks in Minnesota. Lujan has a long list of musical endeavors that include his solo work , his folk band with his girlfriend Desirae Garcia and sister Chela Lujan called the Haunted Windchimes, A Poor Substitute- his punk band and an electronic project called DJ Flow Nase.
Lujan, like many other local musicians, has used the Internet to benefit his musical projects. He said that his music has reached people beyond Colorado, in part because of touring but also because of myspace.
“There are people who contact me on daily basis that I don’t know and aren’t from here,” Lujan said, “I’ll ask them how they found me, and a lot of the time it’s through myspace, because they saw me on the friends list of a band they liked or something.”
Lujan recently played a house show with A Poor Substitute that brought 100 fans out to support his music. Lujan didn’t make a physical flier for the show, he just posted a bulletin on Myspace.
Lujan does see a downside to the exposure local shows are getting via Myspace. In his eyes, it has brought a lot of people into the scene that are not in it for the right reasons.
“There are two types of people at local shows. The type that are accustomed to word of mouth and go to see good bands and the type that sit on the internet all day and read bulletins. People are there these days that do not care about the music. It’s become bubblegum in a way,” Lujan said, “But it’s helped the scene by getting more heads in the show.”
Lujan continues to get bigger audiences and at the same time get more Myspace friends.
“There are things I am weary of with the Internet.” Lujan said, “Like where my music is going to and who’s in control of it. But I know that my music will always be in the good hands of people that appreciate it.”
COLORADO’S RECORD LABELS VS. THE INTERNET?
Suburban Home
Local record label, Suburban Home Records is home to a multitude of local and non-regional bands. Avail front man Tim Barry, The Laymen Terms, Drag the River and Love Me Destroyer are just a few acts signed to the indie label. Suburban Home began in 1995 and acted as an outlet for Virgil Dickerson to put out ‘7 records for bands he liked. The first ‘7 inch he put out was for the Fairlanes, who are now signed to Suburban Home. Dickerson opened Bakamono, an indie record store, in the late 1990’s. At that point in time the label was mainly a hobby. However, the label was bringing in as much money as his business, so he closed Bakamono and focused solely on Suburban Home Records.
The headquarters of Suburban Home records is also the Edgewater, CO home of Dickerson, his wife and his toddler. His home has a backroom with a stock of all of the albums the label has released. Also in the backroom is a press to make t-shirts for Suburban Home’s t-shirt company, Super Fantastic Clothing. There is a bookshelf in the living room that covers an entire wall, filled with records that Suburban Home is carrying on their online vinyl store, vinylcollective.com. Dickerson said that this is the busiest he’s ever been. According to Dickerson, at Suburban Home they are always trying to rethink their business model to answer to the changing industry.
“The industry is on a downward slope,” Dickerson said, “so we’ve been doing other things. Vinyl Collective is a big part of what we do.”
Vinyl Collective is an online store that carries vinyl records from a number of different artists including My Morning Jacket, Belle and Sebastian, Bright Eyes and the Shins.
“Digital is such a soul less format,” Dickerson said, “Music is just one part of the art of the album. We live in a fucked up, fast paced world and there is something therapeutic about sitting down and putting a needle on a record.”
Vinyl is the only physical music form, Dickerson said, that has increased since peer-to-peer sharing shaped the market at the beginning of the decade. Dickerson said that their digital sales on websites like iTunes, eMusic and Rhapsody have increased as well, however, digital sales have not yet made up for the revenue lost in sinking cd sales.
Next year Suburban Home plans to release all of their albums in a digital format. A few of their releases will be released on-line only.
“Peer to Peer greatly affects how music is purchased I’m all for it as a way for people to sample music. People listen to music now more than ever. People are excited about music now more than ever,” Dickerson said.
Despite the loss of cd revenue, in some ways the Internet has helped Dickerson’s label. The Internet has made it easier for Suburban Home to do press releases and send newsletters to fans. It also has leveled the playing field for indie labels and acts to compete with major labels.
“Digital Distribution has leveled the playing field. Majors always had the upperhand when it came to distribution, but now it’s all even,” Dickerson said.
The cheapness of recording technology and the exposure that the internet brings has leveled the playing field for bands with out a label. Increasingly, the necessity of a record label is being questioned.
“There are a lot of people saying that record labels are obsolete. I think about my future and it is possible that our bands could do their own thing,” Dickerson said, “However, we have a core audience, where a lot of fans check out a band because they’re on the label. There are things we can offer to a band that they can’t do on their own.”
Despite the changing industry Dickerson stays optimistic about his future in music. Suburban Home’s side companies act as a safety net to dropping sales and concerns about the role of the record label.
“It’s a scary time,” Dickerson said, “but I’m having more fun now than ever. I’m putting out records I love. In our own little way, we’re doing alright.”
What Are Records?
Boulder’s What Are Records was started by Rob Gordon 17 years ago. What Are Records was home to popular bands such as Big Head Todd and the Monsters and The Samples. W.A.R. now includes a number of musical acts and comedians. Artsits such as The Swayback, Zepperella and David Wilcox are signed to W.A.R.
W.A.R. has seen a shift in the industry and has heard the questions about the necessity of a record label in a digital world. In order to maintain an important role, W.A.R. is turning more to career development, something they’ve always dabbled in, signing 360 deals with bands. Many major record labels have been signing 360 deals, which give the label the responsibility of promotion, marketing and booking. In turn, the label gets a percentage of the bands profits outside of record sales. According to Jeff Palmer, W.A.R.’s media official, because of career development W.A.R. is more than a record label, and that’s how it will survive in the changing industry.
Palmer said that while physical copies of their albums make up for 70% of their sales, the ratio between c.d sales and downloads has decreased. To embrace the Internet, W.A.R. reaches out to blogs and online retailers that carry W.A.R. artists. In Palmer’s opinion, the Internet has not terribly hurt the label.
“CD sales are falling across the board,” Palmer said, “Majors are depending on one or two artists to sell millions of records that doesn’t happen anymore. The sky is falling, but it is falling a lot more for them.”
Palmer said that the internet has actually helped W.A.R. is some ways because it has helped expose the artists and given everyone access to a variety of music.
“The days of the superstar are over,” Jeff said, “Everyone has access to music and not everyone is looking at tastemakers like the radio and MTV. A band can come along that’s so great it becomes popular based on the strength of the music.”
THE FUTURE?
According to Guggenhiem, who is working on a free music streaming website in Boulder, people ages 13-24 have a made a decision- and that decision is that music should be free. Guggenhiem’s website, iggli.com, will have a huge library of music that people to stream for free on demand. Listeners will not be able to save the music to their hard-drives or iPods. Iggli will also act as social networking website for people to post record reviews and show reviews. The ad revenue of the website will support it and the artists and labels that are being listened to. Money will be distributed to bands based on how many times there song is streamed.
“Music has to feel like free,” Guggenhiem said.
According to Guggenhiem record labels have jumped on board with Iggli. Unsigned bands will be able to upload material onto the site, as well.
“Nobody knows how this will turn out. I think it remains to be seen,” Guggenhiem said, “Our company can play a role in the future of music, that’s what we’re hoping for.”
No one knows if websites like Iggli are the future of music, no one knows if the sky is actually falling for record labels and no one knows if the internet has helped or hurt music. Technology, is a double edged sword swinging away at the structures we once held as certain.
Thousands of miles away from the booming entertainment industry in New York and Los Angeles, Colorado has been affected greatly by the digital music revolution. Whether the local innovators like Ted Guggenhiem, the record labels like Suburban Home and W.A.R., and musicians like Inaiah Lujan will rise from the wreckage of an industry that is potentially headed toward disaster is yet to be seen.
“Maybe our idea of what the music industry is needs to die,” Lujan said, “If so, rest in peace.”
-marissa malouff
http://littlehappyclouds.wordpress.com
I filled out a resume for the Daily Camera today. In the process of filling out the resume I looked through some old articles.
This is an article I wrote for class in December of 2007.
local music and technology: what is the future?
Colorado’s Place in the Changing Music Scene
The living room at Rhinoceropolis would be pitch black if it weren’t for the Christmas lights strung from the rafters. The venue, which acts as a home in north Denver by day, could seem baron if it weren’t for the paintings hung on the wall. The building will get drafts of cold air, however, it’s hard to notice with each room filled with art, records, instruments and ashtrays. The body heat of dozens of young people crammed in the small living room acts as a barrier to the cold ridden outside. The audience sits still, watching in awe as a young man and woman sit on stools in front of them stroking acoustic guitars.
If music is dying, like many record industry officials have said, no one informed the crowd that braved the winter air to see the show. If music is dying, then local shows are making its last grasps powerful ones. Record industry officials say that the sky is falling, however, for local musicians and fans the sky is the limit.
According to USA Today, CD sales dropped 8% from 2004 to 2006, as downloaded tracks raised by 150%. In the first quarter of 2007 CD sales plunged by 20% compared to the first quarter of 2006. The sales drops have left record industry executives shaking in their boots.
RIAA president Gary Sherman told the San Francisco Gate, “”It’s obvious we have a very serious problem. Those are the revenue streams that have financed this industry, and they are shrinking.”
The record industry has done little to embrace the digitalization of music, in fact, record executives have fought to suppress it. Co-founder of What Are Records? and Vice President of Business Development for iggli.com, a music streaming website in the works, Ted Guggenhiem, , believes that the industry’s stubbornness put major labels in the boat they are in.
“They said, ‘here’s how you listen to music’, and they spent years trying to get peer to peer shut down. They lost control.” Guggenhiem said, “They fundamentally tried to force people to listen to albums, and they lost it.”
According to Guggenhiem, record labels sinking sales aren’t the only thing record labels need to worry about. They need to worry about their role in general. Since Radiohead self released their album in a digital format, the function of record labels has been in question.
“The record industry is dead,” Guggenhiem said, “Major Labels will be gone and indies will be in a similar boat.”
Players in the local music scene have been faced with drastic changes in the industry that pays their bills. Local record labels, musicians and innovators are coming up with ways to weather the changing tide in music, to keep their businesses alive and to embrace the digital revolution.
THE INTERNET AND THE EXPLODING LOCAL MUSIC SCENE.
Inaiah Lujan has been a local musician in Pueblo, CO for years. He has traveled across the country to play music multiple times, and played everywhere from bars in Athens, GA to sidewalks in Minnesota. Lujan has a long list of musical endeavors that include his solo work , his folk band with his girlfriend Desirae Garcia and sister Chela Lujan called the Haunted Windchimes, A Poor Substitute- his punk band and an electronic project called DJ Flow Nase.
Lujan, like many other local musicians, has used the Internet to benefit his musical projects. He said that his music has reached people beyond Colorado, in part because of touring but also because of myspace.
“There are people who contact me on daily basis that I don’t know and aren’t from here,” Lujan said, “I’ll ask them how they found me, and a lot of the time it’s through myspace, because they saw me on the friends list of a band they liked or something.”
Lujan recently played a house show with A Poor Substitute that brought 100 fans out to support his music. Lujan didn’t make a physical flier for the show, he just posted a bulletin on Myspace.
Lujan does see a downside to the exposure local shows are getting via Myspace. In his eyes, it has brought a lot of people into the scene that are not in it for the right reasons.
“There are two types of people at local shows. The type that are accustomed to word of mouth and go to see good bands and the type that sit on the internet all day and read bulletins. People are there these days that do not care about the music. It’s become bubblegum in a way,” Lujan said, “But it’s helped the scene by getting more heads in the show.”
Lujan continues to get bigger audiences and at the same time get more Myspace friends.
“There are things I am weary of with the Internet.” Lujan said, “Like where my music is going to and who’s in control of it. But I know that my music will always be in the good hands of people that appreciate it.”
COLORADO’S RECORD LABELS VS. THE INTERNET?
Suburban Home
Local record label, Suburban Home Records is home to a multitude of local and non-regional bands. Avail front man Tim Barry, The Laymen Terms, Drag the River and Love Me Destroyer are just a few acts signed to the indie label. Suburban Home began in 1995 and acted as an outlet for Virgil Dickerson to put out ‘7 records for bands he liked. The first ‘7 inch he put out was for the Fairlanes, who are now signed to Suburban Home. Dickerson opened Bakamono, an indie record store, in the late 1990’s. At that point in time the label was mainly a hobby. However, the label was bringing in as much money as his business, so he closed Bakamono and focused solely on Suburban Home Records.
The headquarters of Suburban Home records is also the Edgewater, CO home of Dickerson, his wife and his toddler. His home has a backroom with a stock of all of the albums the label has released. Also in the backroom is a press to make t-shirts for Suburban Home’s t-shirt company, Super Fantastic Clothing. There is a bookshelf in the living room that covers an entire wall, filled with records that Suburban Home is carrying on their online vinyl store, vinylcollective.com. Dickerson said that this is the busiest he’s ever been. According to Dickerson, at Suburban Home they are always trying to rethink their business model to answer to the changing industry.
“The industry is on a downward slope,” Dickerson said, “so we’ve been doing other things. Vinyl Collective is a big part of what we do.”
Vinyl Collective is an online store that carries vinyl records from a number of different artists including My Morning Jacket, Belle and Sebastian, Bright Eyes and the Shins.
“Digital is such a soul less format,” Dickerson said, “Music is just one part of the art of the album. We live in a fucked up, fast paced world and there is something therapeutic about sitting down and putting a needle on a record.”
Vinyl is the only physical music form, Dickerson said, that has increased since peer-to-peer sharing shaped the market at the beginning of the decade. Dickerson said that their digital sales on websites like iTunes, eMusic and Rhapsody have increased as well, however, digital sales have not yet made up for the revenue lost in sinking cd sales.
Next year Suburban Home plans to release all of their albums in a digital format. A few of their releases will be released on-line only.
“Peer to Peer greatly affects how music is purchased I’m all for it as a way for people to sample music. People listen to music now more than ever. People are excited about music now more than ever,” Dickerson said.
Despite the loss of cd revenue, in some ways the Internet has helped Dickerson’s label. The Internet has made it easier for Suburban Home to do press releases and send newsletters to fans. It also has leveled the playing field for indie labels and acts to compete with major labels.
“Digital Distribution has leveled the playing field. Majors always had the upperhand when it came to distribution, but now it’s all even,” Dickerson said.
The cheapness of recording technology and the exposure that the internet brings has leveled the playing field for bands with out a label. Increasingly, the necessity of a record label is being questioned.
“There are a lot of people saying that record labels are obsolete. I think about my future and it is possible that our bands could do their own thing,” Dickerson said, “However, we have a core audience, where a lot of fans check out a band because they’re on the label. There are things we can offer to a band that they can’t do on their own.”
Despite the changing industry Dickerson stays optimistic about his future in music. Suburban Home’s side companies act as a safety net to dropping sales and concerns about the role of the record label.
“It’s a scary time,” Dickerson said, “but I’m having more fun now than ever. I’m putting out records I love. In our own little way, we’re doing alright.”
What Are Records?
Boulder’s What Are Records was started by Rob Gordon 17 years ago. What Are Records was home to popular bands such as Big Head Todd and the Monsters and The Samples. W.A.R. now includes a number of musical acts and comedians. Artsits such as The Swayback, Zepperella and David Wilcox are signed to W.A.R.
W.A.R. has seen a shift in the industry and has heard the questions about the necessity of a record label in a digital world. In order to maintain an important role, W.A.R. is turning more to career development, something they’ve always dabbled in, signing 360 deals with bands. Many major record labels have been signing 360 deals, which give the label the responsibility of promotion, marketing and booking. In turn, the label gets a percentage of the bands profits outside of record sales. According to Jeff Palmer, W.A.R.’s media official, because of career development W.A.R. is more than a record label, and that’s how it will survive in the changing industry.
Palmer said that while physical copies of their albums make up for 70% of their sales, the ratio between c.d sales and downloads has decreased. To embrace the Internet, W.A.R. reaches out to blogs and online retailers that carry W.A.R. artists. In Palmer’s opinion, the Internet has not terribly hurt the label.
“CD sales are falling across the board,” Palmer said, “Majors are depending on one or two artists to sell millions of records that doesn’t happen anymore. The sky is falling, but it is falling a lot more for them.”
Palmer said that the internet has actually helped W.A.R. is some ways because it has helped expose the artists and given everyone access to a variety of music.
“The days of the superstar are over,” Jeff said, “Everyone has access to music and not everyone is looking at tastemakers like the radio and MTV. A band can come along that’s so great it becomes popular based on the strength of the music.”
THE FUTURE?
According to Guggenhiem, who is working on a free music streaming website in Boulder, people ages 13-24 have a made a decision- and that decision is that music should be free. Guggenhiem’s website, iggli.com, will have a huge library of music that people to stream for free on demand. Listeners will not be able to save the music to their hard-drives or iPods. Iggli will also act as social networking website for people to post record reviews and show reviews. The ad revenue of the website will support it and the artists and labels that are being listened to. Money will be distributed to bands based on how many times there song is streamed.
“Music has to feel like free,” Guggenhiem said.
According to Guggenhiem record labels have jumped on board with Iggli. Unsigned bands will be able to upload material onto the site, as well.
“Nobody knows how this will turn out. I think it remains to be seen,” Guggenhiem said, “Our company can play a role in the future of music, that’s what we’re hoping for.”
No one knows if websites like Iggli are the future of music, no one knows if the sky is actually falling for record labels and no one knows if the internet has helped or hurt music. Technology, is a double edged sword swinging away at the structures we once held as certain.
Thousands of miles away from the booming entertainment industry in New York and Los Angeles, Colorado has been affected greatly by the digital music revolution. Whether the local innovators like Ted Guggenhiem, the record labels like Suburban Home and W.A.R., and musicians like Inaiah Lujan will rise from the wreckage of an industry that is potentially headed toward disaster is yet to be seen.
“Maybe our idea of what the music industry is needs to die,” Lujan said, “If so, rest in peace.”
-marissa malouff
http://littlehappyclouds.wordpress.com
Audiophile Audition Review
I want to thank John over at http://www.audaud.com/index.php for the exclusive rights to reprint this great review!
AUDIOPHILE AUDITION focuses on recordings of interest to audiophiles and collectors, with an accent on surround sound for music, and on all hi-res disc formats. Over 100SACD, DVD Video/Audio and standard CD reviews are published during each month, and our archives go back to January 2001.
Vinyl Accessories and
Useful Tools for LP Playback – Part I
Beginning a series on useful products for the analog vinyl enthusiast.
Published on March 10, 2009
Vinyl Accessories and
Useful Tools for LP Playback
Part I
The amount of products available to the analog record enthusiast is simply mind-boggling. I will try to cover the major areas with the exception of support furniture and feet. Whatever turntable you use it is important for it to be level and on a stable and non-resonant base. The options for table support range widely so they won’t be covered in this article. I separated the article into three parts: one with adjustment/setup tools, one with care and accessory products and one with tweaks.
Levels. In order to check for a level surface a circular bubble level is a good device to have. Rather than trying to adjust the table or support in two directions (one at a time with a conventional level) it is nice to see how far off you are in both directions at once. I haven’t personally tried these, so take that under advisement. Here are the ones that look recommendable:
1) Home Depot used to sell a small plastic circular level for a few bucks. It doesn’t look like they carry such a thing anymore online, but the stores may still have one and other hardware stores may have a similar item. Online I found a Johnson Bubble Level for $2 or a Bullseye Level for $6.50. Both of these are plastic circular levels and the Bullseye has two rings in the center as opposed to one.
2) The Clearaudio bubble level is metal and looks very substantial. It sells for $60.
3) The Avid level 45 is a circular level and 45rpm adapter at the same time and sells for $100. Like the Bullseye it offers two rings to help with the adjustment.
4) The Cartridge man is a digital level that measures in two directions and looks like one serious piece of gear! It has a bright digital readout and sells for $429.
Protractors. Once the playing surface is level the next step is usually to set up the arm of the turntable. This is normally done in conjunction with the cartridge that will be mounted to it. With radial/pivot arms there are a number of adjustments that need to be set. Arm height is first on the list and then, with a pivoting (radial) arm, we need to adjust the angle of the cartridge. Looking down on the cartridge we can adjust it clockwise or counter-clockwise. This is the offset. Looking from the front of the cartridge this adjustment is called azimuth. And looking from the side the adjustment is called VTA (Vertical Tracking Angle).
Rough VTA is set by adjusting the arm height. Azimuth can be set with a mirror (if this adjustment is available on the arm) to make sure the cartridge is leaning to one side or the other when looking at it from the front. Offset is what we need a protractor or similar device to set. On the record surface the ideal would to have the stylus and shaft parallel to the record groove at all times. Only a tangential/linear tracking tonearm can accomplish this feat. With pivot arms we try to adjust for a particular offset angle to have no tracking error at two points on the record surface. (Some products adjust at one point and use a different method.) Everywhere else will be a compromise. The longer the length of the arm, the less the compromise.
Many turntables come with a small sheet/piece of paper that slips over the spindle and has a grid in one or two places for adjustment. You can also download alignment sheets and then print them from the web. The ones I found I couldn’t print to the right size, so I couldn’t use them. Better options are:
1) DB Systems DBP-10 Phono Alignment Protractor. $49. DB Systems was nice enough to send me a sample of the DBP-10 along with a review from 1979! It is constructed of plastic and comes housed in a soft case. There is a white plate with the two measurement points at 2.6” and 4.76”. A transparent plate with lines running across it is placed on top. After aligning those lines parallel with the cartridge housing at both points you can systematically move the cartridge forwards and backwards. Once they are close enough together, the instructions indicate which way to twist the cartridge. For super-fine tuning you turn the white plate over and there is a fine cross grid. There are even null point suggestions for 8” records at 2.253” and 3.02”. I was really impressed with the ease of this tool and its cost is very reasonable.
2) The Feickert Protractor - $250. I tried to email Feickert on two occasions and never got a response to my request for a review sample. Perhaps someone will see this and send me one for a followup review. This product is considered by many to be the crème de le crème of protractors and has a measuring post to adjust for effective arm length and overhang. It looks to be well made and has all that is needed to properly adjust offset.
Scales/Stylus Force Gauges. The next adjustment is stylus pressure force for which a good scale is essential. The simplest method (and least accurate) involves adjusting the weight on the tonearm until the tonearm balances and stays parallel with the record surface. Then turn the appropriate weight on. Much better choices are:
1) Shure SFG-2 mechanical scale—on loan from Shure. $36. The Shure can measure between 1-3 grams and claims accuracy of .1 grams within .5 to 1.5 grams. To operate the scale you slide the indicator up and down the numbers (in grams), set the needle on the 1x or 2x indented line and see if the end of the scale lines up with the preset plastic piece while looking in the little mirror. It works well, but requires some work on the user’s part and it doesn’t measure weight at record height. It is important to determine if your tonearm height affects weight. If not, then no problem.
2) Steve Blinn Designs Digital Stylus Gauge—on loan from Steve Blinn. $89. A 100-gram calibration weight is an option for $6. This scale started its life as a Jennings Mini-300 scale. Jennings makes precision scales and this one is accurate up to 300 grams with accuracy of .1 gram. What Steve does is add a small holder on the side for the stylus with an upside down rubber dimple. This means that measurement takes place very close to record height. The scale comes with a plastic box and instructions on how to calibrate it from Jennings. Setting proper stylus force with this scale was much easier than with the Shure. It runs on 3 LR44 batteries. I used the Blinn most often for the quickest and easiest measuring.
3) Many budget audiophiles suggest that a good conventional scale is perfectly fine for measuring stylus force and cost is much less than “audio” scales. Tanita is one of those well-known scale manufacturers and they were very accommodating with my scale request. They sent a 1579D scale and a 200 gram weight for calibration = $90. If a scale offers no way to calibrate it, then it will be impossible to correct it once it is in your hands. It came in a very nice case. It is accurate up to 200 grams, accuracy is .01 grams(!) and it runs on two CR2032 batteries or an AC adapter. The box says that the adapter is included but my sample did not come with it. When I received the scale it was not reading correctly, but after calibration (a procedure that takes seconds) it read the 100 gram and 200 gram weights within 1/100th of a gram. The scale does not measure anywhere close to record height, so to get it close you’ll need to remove the platter—not really a big deal—and then raise it to the right height—possibly a big deal depending on the height of your platter. The area where the needle sits is quite large and shallow. I would recommend putting a pad on it so the needle stays in place. Although not ideal for its use, the Tanita was incredibly cheap considering its accuracy compared to “audio” scales.
4) Mapleshade Phonophile Nuance Tracking Force Scale. $75. I contacted Mapleshade, but never heard back about a review sample, so I never got a chance to try what would seem to be a huge audio bargain. A scale that measures at record height, handles up to 100 grams, is accurate to .01 gram and only costs $75!
Test Discs. Records can serve as wonderful tools to help set up and assess the performance of turntables as well. The best one currently available may be the Analogue Productions “The Ultimate Analogue Test LP.” After all, what is beyond the ultimate?! I requested one of these and let me tell you, it is chock full of tests including adjustments to azimuth, anti-skate, VTA, cartridge demagnetizing and resonance checks, RIAA adjustments for a phono preamplifier/equalizer and a silent groove to check for rumble and resonance. The kicker is that you really need to have a bunch of different test equipment to make all the adjustments. This one is not for the average hobbyist.
Guides. Rather than break something, consult your knowledgeable neighborhood audio dealer [if you still have one around...Ed]. If you are willing to give it a go yourself you might want to do some reading or invest in a setup guide. I found it very enlightening to read the interview with turntable setup guru Brooks Berdan in The Audio Perfectionist Journal. He goes into all the necessary adjustments required to set up both suspension and non-suspension tables as well as different types of arms (in proper order). It is a good read even for the experienced calibrator. Michael Fremer has an Analog Set-Up DVD. [We reviewed it Here...Ed]
Oscilloscopes. Considering that some of the analog setups out there are quite expensive a decent scope shouldn’t be out of the question for the serious calibrator. With the proper test record it will be an essential tool to properly adjust anti-skate as well as observe other anomalies which can then be corrected by making the necessary adjustments. A conventional oscilloscope can be had new in the lower range of $200-300. For audio purposes, these should be sufficient. For anyone with a decent audio line input in their computer you can get software that will emulate the function of an oscilloscope. The two that I found on the web are:
1) Zelscope offers one for $10 with a 15 day evaluation period. It has controls like a conventional scope and has an easy way to display both channels or difference signals.
2) Visual Analyser 8.14 has even more options including a frequency response display with noise readings, etc. It is free! This should make adjusting anti-skate a piece of cake.
Aside from some basic tools like screwdrivers and a set of small pinch-nosed pliers, this is all you’ll need (along with a good set of ears!) to get your turntable up and running. Good luck!
- Brian Bloom big_brian_b@hotmail.com
AUDIOPHILE AUDITION focuses on recordings of interest to audiophiles and collectors, with an accent on surround sound for music, and on all hi-res disc formats. Over 100SACD, DVD Video/Audio and standard CD reviews are published during each month, and our archives go back to January 2001.
Vinyl Accessories and
Useful Tools for LP Playback – Part I
Beginning a series on useful products for the analog vinyl enthusiast.
Published on March 10, 2009
Vinyl Accessories and
Useful Tools for LP Playback
Part I
The amount of products available to the analog record enthusiast is simply mind-boggling. I will try to cover the major areas with the exception of support furniture and feet. Whatever turntable you use it is important for it to be level and on a stable and non-resonant base. The options for table support range widely so they won’t be covered in this article. I separated the article into three parts: one with adjustment/setup tools, one with care and accessory products and one with tweaks.Levels. In order to check for a level surface a circular bubble level is a good device to have. Rather than trying to adjust the table or support in two directions (one at a time with a conventional level) it is nice to see how far off you are in both directions at once. I haven’t personally tried these, so take that under advisement. Here are the ones that look recommendable:
1) Home Depot used to sell a small plastic circular level for a few bucks. It doesn’t look like they carry such a thing anymore online, but the stores may still have one and other hardware stores may have a similar item. Online I found a Johnson Bubble Level for $2 or a Bullseye Level for $6.50. Both of these are plastic circular levels and the Bullseye has two rings in the center as opposed to one.
2) The Clearaudio bubble level is metal and looks very substantial. It sells for $60.
3) The Avid level 45 is a circular level and 45rpm adapter at the same time and sells for $100. Like the Bullseye it offers two rings to help with the adjustment.
4) The Cartridge man is a digital level that measures in two directions and looks like one serious piece of gear! It has a bright digital readout and sells for $429.
Protractors. Once the playing surface is level the next step is usually to set up the arm of the turntable. This is normally done in conjunction with the cartridge that will be mounted to it. With radial/pivot arms there are a number of adjustments that need to be set. Arm height is first on the list and then, with a pivoting (radial) arm, we need to adjust the angle of the cartridge. Looking down on the cartridge we can adjust it clockwise or counter-clockwise. This is the offset. Looking from the front of the cartridge this adjustment is called azimuth. And looking from the side the adjustment is called VTA (Vertical Tracking Angle).
Rough VTA is set by adjusting the arm height. Azimuth can be set with a mirror (if this adjustment is available on the arm) to make sure the cartridge is leaning to one side or the other when looking at it from the front. Offset is what we need a protractor or similar device to set. On the record surface the ideal would to have the stylus and shaft parallel to the record groove at all times. Only a tangential/linear tracking tonearm can accomplish this feat. With pivot arms we try to adjust for a particular offset angle to have no tracking error at two points on the record surface. (Some products adjust at one point and use a different method.) Everywhere else will be a compromise. The longer the length of the arm, the less the compromise.
Many turntables come with a small sheet/piece of paper that slips over the spindle and has a grid in one or two places for adjustment. You can also download alignment sheets and then print them from the web. The ones I found I couldn’t print to the right size, so I couldn’t use them. Better options are:
1) DB Systems DBP-10 Phono Alignment Protractor. $49. DB Systems was nice enough to send me a sample of the DBP-10 along with a review from 1979! It is constructed of plastic and comes housed in a soft case. There is a white plate with the two measurement points at 2.6” and 4.76”. A transparent plate with lines running across it is placed on top. After aligning those lines parallel with the cartridge housing at both points you can systematically move the cartridge forwards and backwards. Once they are close enough together, the instructions indicate which way to twist the cartridge. For super-fine tuning you turn the white plate over and there is a fine cross grid. There are even null point suggestions for 8” records at 2.253” and 3.02”. I was really impressed with the ease of this tool and its cost is very reasonable.
2) The Feickert Protractor - $250. I tried to email Feickert on two occasions and never got a response to my request for a review sample. Perhaps someone will see this and send me one for a followup review. This product is considered by many to be the crème de le crème of protractors and has a measuring post to adjust for effective arm length and overhang. It looks to be well made and has all that is needed to properly adjust offset.
Scales/Stylus Force Gauges. The next adjustment is stylus pressure force for which a good scale is essential. The simplest method (and least accurate) involves adjusting the weight on the tonearm until the tonearm balances and stays parallel with the record surface. Then turn the appropriate weight on. Much better choices are:
1) Shure SFG-2 mechanical scale—on loan from Shure. $36. The Shure can measure between 1-3 grams and claims accuracy of .1 grams within .5 to 1.5 grams. To operate the scale you slide the indicator up and down the numbers (in grams), set the needle on the 1x or 2x indented line and see if the end of the scale lines up with the preset plastic piece while looking in the little mirror. It works well, but requires some work on the user’s part and it doesn’t measure weight at record height. It is important to determine if your tonearm height affects weight. If not, then no problem.
2) Steve Blinn Designs Digital Stylus Gauge—on loan from Steve Blinn. $89. A 100-gram calibration weight is an option for $6. This scale started its life as a Jennings Mini-300 scale. Jennings makes precision scales and this one is accurate up to 300 grams with accuracy of .1 gram. What Steve does is add a small holder on the side for the stylus with an upside down rubber dimple. This means that measurement takes place very close to record height. The scale comes with a plastic box and instructions on how to calibrate it from Jennings. Setting proper stylus force with this scale was much easier than with the Shure. It runs on 3 LR44 batteries. I used the Blinn most often for the quickest and easiest measuring.
3) Many budget audiophiles suggest that a good conventional scale is perfectly fine for measuring stylus force and cost is much less than “audio” scales. Tanita is one of those well-known scale manufacturers and they were very accommodating with my scale request. They sent a 1579D scale and a 200 gram weight for calibration = $90. If a scale offers no way to calibrate it, then it will be impossible to correct it once it is in your hands. It came in a very nice case. It is accurate up to 200 grams, accuracy is .01 grams(!) and it runs on two CR2032 batteries or an AC adapter. The box says that the adapter is included but my sample did not come with it. When I received the scale it was not reading correctly, but after calibration (a procedure that takes seconds) it read the 100 gram and 200 gram weights within 1/100th of a gram. The scale does not measure anywhere close to record height, so to get it close you’ll need to remove the platter—not really a big deal—and then raise it to the right height—possibly a big deal depending on the height of your platter. The area where the needle sits is quite large and shallow. I would recommend putting a pad on it so the needle stays in place. Although not ideal for its use, the Tanita was incredibly cheap considering its accuracy compared to “audio” scales.
4) Mapleshade Phonophile Nuance Tracking Force Scale. $75. I contacted Mapleshade, but never heard back about a review sample, so I never got a chance to try what would seem to be a huge audio bargain. A scale that measures at record height, handles up to 100 grams, is accurate to .01 gram and only costs $75!
Test Discs. Records can serve as wonderful tools to help set up and assess the performance of turntables as well. The best one currently available may be the Analogue Productions “The Ultimate Analogue Test LP.” After all, what is beyond the ultimate?! I requested one of these and let me tell you, it is chock full of tests including adjustments to azimuth, anti-skate, VTA, cartridge demagnetizing and resonance checks, RIAA adjustments for a phono preamplifier/equalizer and a silent groove to check for rumble and resonance. The kicker is that you really need to have a bunch of different test equipment to make all the adjustments. This one is not for the average hobbyist.
Guides. Rather than break something, consult your knowledgeable neighborhood audio dealer [if you still have one around...Ed]. If you are willing to give it a go yourself you might want to do some reading or invest in a setup guide. I found it very enlightening to read the interview with turntable setup guru Brooks Berdan in The Audio Perfectionist Journal. He goes into all the necessary adjustments required to set up both suspension and non-suspension tables as well as different types of arms (in proper order). It is a good read even for the experienced calibrator. Michael Fremer has an Analog Set-Up DVD. [We reviewed it Here...Ed]
Oscilloscopes. Considering that some of the analog setups out there are quite expensive a decent scope shouldn’t be out of the question for the serious calibrator. With the proper test record it will be an essential tool to properly adjust anti-skate as well as observe other anomalies which can then be corrected by making the necessary adjustments. A conventional oscilloscope can be had new in the lower range of $200-300. For audio purposes, these should be sufficient. For anyone with a decent audio line input in their computer you can get software that will emulate the function of an oscilloscope. The two that I found on the web are:
1) Zelscope offers one for $10 with a 15 day evaluation period. It has controls like a conventional scope and has an easy way to display both channels or difference signals.
2) Visual Analyser 8.14 has even more options including a frequency response display with noise readings, etc. It is free! This should make adjusting anti-skate a piece of cake.
Aside from some basic tools like screwdrivers and a set of small pinch-nosed pliers, this is all you’ll need (along with a good set of ears!) to get your turntable up and running. Good luck!
- Brian Bloom big_brian_b@hotmail.com
Saturday, April 4, 2009
Music News & Notes
Ciara Reveals U.K. Versions of 'Fantasy Ride' Cover Art
U.K. versions of Ciara's "Fantasy Ride" cover art have arrived in two different pictures. While U.S. artwork captures her up close from the front, both of the U.K. cover arts have her snapped from right side with braided hair. One of them shows her in red manga-inspired costume. The other also pictures her in the same clothes, only this time she dresses in purple.
In addition to the U.K. versions of "Fantasy Ride" cover art, a video footage showing Ciara and Justin Timberlake rehearsing steamy scenes for "Love Sex Magic" music video has also been outed. Accompanied by Jamaica, who supposedly is the choreographer, the two are seen enjoying the rehearsal as both are laughing and smiling.
"Fantasy Ride" will be released in U.K. on May 4 and in U.S. on the next day.
===============================
Genesis To Release Six LP Vinyl Box Set April 14
In the beginning - there was vinyl.
After upgrading the Genesis catalog of studio albums with a trio of comprehensive boxed sets (1, 2, 3), Rhino brings the band's early years back to their LP origins with Genesis 1970-1975, a vinyl boxed set that contains five albums with lead singer Peter Gabriel.
Each Genesis vinyl album contains new stereo mixes done by Nick Davis. They are presented in heavyweight gatefold sleeves that feature the original covers, faithfully reproduced from their original sources. All of the albums are collected in a protective slipcase.
One of the top-selling recording artists of all time, Genesis has sold more than 150 million albums so far. This five-album set collects some of the band's most adventurous and ground-breaking records, covering Gabriel's tenure with the group.
The Genesis 1970-1975 vinyl boxed set spotlights five albums -- Trespass, Nursery Cryme, Foxtrot, Selling England By The Pound and the Double LP Set, The Lamb Lies Down On Broadway.
===============================
My Morning Jacket Get In On Record Store Day
My Morning Jacket are celebrating Record Store Day this April 18th by releasing a new seven track live EP.
The band hail from Lousville, Kentucky in the US and will release the live EP exclusively in independent record stores around their home-town of Louisville on April 18th as part of the Record Store Day.
The CD has been titled Celebración De La Ciudad Natal and was recorded back in 2008 in Louisville's very own Ear-X-Tacy record store and at the cities Waterfront Park.
The band recently wrote a short statement about the EP and the reasoning behind the limited release: "It is so important that we realize that it is our local businesses and people (and natural landscapes, but that's a different letter) that are what make different towns worth coming to". Well said.
The EP will be released on CD and 10-inch vinyl format
U.K. versions of Ciara's "Fantasy Ride" cover art have arrived in two different pictures. While U.S. artwork captures her up close from the front, both of the U.K. cover arts have her snapped from right side with braided hair. One of them shows her in red manga-inspired costume. The other also pictures her in the same clothes, only this time she dresses in purple.
In addition to the U.K. versions of "Fantasy Ride" cover art, a video footage showing Ciara and Justin Timberlake rehearsing steamy scenes for "Love Sex Magic" music video has also been outed. Accompanied by Jamaica, who supposedly is the choreographer, the two are seen enjoying the rehearsal as both are laughing and smiling.
"Fantasy Ride" will be released in U.K. on May 4 and in U.S. on the next day.
===============================
Genesis To Release Six LP Vinyl Box Set April 14
In the beginning - there was vinyl.
After upgrading the Genesis catalog of studio albums with a trio of comprehensive boxed sets (1, 2, 3), Rhino brings the band's early years back to their LP origins with Genesis 1970-1975, a vinyl boxed set that contains five albums with lead singer Peter Gabriel.
Each Genesis vinyl album contains new stereo mixes done by Nick Davis. They are presented in heavyweight gatefold sleeves that feature the original covers, faithfully reproduced from their original sources. All of the albums are collected in a protective slipcase.
One of the top-selling recording artists of all time, Genesis has sold more than 150 million albums so far. This five-album set collects some of the band's most adventurous and ground-breaking records, covering Gabriel's tenure with the group.
The Genesis 1970-1975 vinyl boxed set spotlights five albums -- Trespass, Nursery Cryme, Foxtrot, Selling England By The Pound and the Double LP Set, The Lamb Lies Down On Broadway.
===============================
My Morning Jacket Get In On Record Store Day
My Morning Jacket are celebrating Record Store Day this April 18th by releasing a new seven track live EP.
The band hail from Lousville, Kentucky in the US and will release the live EP exclusively in independent record stores around their home-town of Louisville on April 18th as part of the Record Store Day.
The CD has been titled Celebración De La Ciudad Natal and was recorded back in 2008 in Louisville's very own Ear-X-Tacy record store and at the cities Waterfront Park.
The band recently wrote a short statement about the EP and the reasoning behind the limited release: "It is so important that we realize that it is our local businesses and people (and natural landscapes, but that's a different letter) that are what make different towns worth coming to". Well said.
The EP will be released on CD and 10-inch vinyl format
This Date In Music History- April 4
Birthdays:
Mick Mars- Motley Crue (1955)
Disco diva Carol Douglas (1948)
Dave Hill- Slade (1952)
Gary Moore- Skid Row (1952)
Pete Haycock- Climax Blues Band (1952)
Hugh Masekela (#1 single “Grazing In The Grass”) (1939)
Legendary record exec Clive Davis was born in 1934. He had commercial and creative high-points at both the Columbia and Arista labels. He currently heads J Records.
They Are Missed:
Born in 1941- Major Lance (died of heart failure March 9, 1994).
Sharon Sheeley, US songwriter- 1940. Hits included “Poor Little Fool” (#1 for Ricky Nelson) in 1958 and 1959 hit for Eddie Cochran “Somethin' Else.” Sheeley became Cochran's girlfriend and survived the car crash that killed Cochran in 1960. She died on May 17, 2002 aged 62.
Berry Oakley, Allman Brothers Band- 1948 (killed in a motorcycle accident November 11, 1972.
Muddy Waters was born in Rolling Fork, Mississippi in 1915. (real name McKinley Morganfield-died April 30, 1983)
Margo Sylvia of the Tune Weavers was born in 1936.
History:
The ashes of the Grateful Dead's Jerry Garcia were scattered in the Ganges River in India in 1996.
The Clash release their self-titled debut album in 1977.
In 2002 it was announced that the 19-year-old band Megadeth had broken up. The break up was due to an injury to Dave Mustaine's left arm and hand that had left him unable to play guitar.
Elvis Presley recorded "Are You Lonesome Tonight" in 1960.
In 1968, Jimi Hendrix, B.B. King, Buddy Guy, Joni Mitchell, Al Kooper and Ted Nugent met up for an all night blues, folk and rock session at The New Generation Club, New York after hearing the news of Martin Luther King's assassination.
The Rolling Stones released their self-titled debut album in 1964.
Also in 1964, in court, the Trashmen were ordered to pay copyright and royalties to Beechwood Music. A judge had ruled that their 1963 hit "Surfin' Bird" utilized substantial portions of the Rivingtons' nonsense hits "Papa Oom Mow Mow" and "The Bird Is the Word."
In 1965, John Lennon and Paul McCartney composed "Help!” the title track to the Beatles' second film.
"It Doesn't Matter Anymore" became Buddy Holly's first posthumous hit in 1959, peaking at #13.
According to today's issue of Billboard in 1960, RCA Victor will now release all its pop singles in the mono and stereo formats. The first single issued under the new policy is Elvis Presley's "Stuck on You."
Styx's "Paradise Theater" went to #1 in 1981. It would become their fourth album in a row to go triple-platinum, setting a new sales record.
In 1994, Kurt Cobain's mother filed a missing-persons report on her son. Here’s an idea, why not check the house where he lived…..
In a statement by Paul McCartney in 1996, he was still denying the Beatles will re-form. "The Beatles aren't interested," he says. "Money is not an issue. We wouldn't do it for twice as much. The answer is no." Too bad for Heather.
The film soundtrack from “Wayne's World” started a two-week run at #1 on the US album chart in 1992.
A Swedish couple ran into trouble with authorities in 2007 after trying to name their baby Metallica. Michael and Karolina Tomaro went to court with the country's National Tax Authority about naming their daughter after the rock band. The six-month-old has been baptised Metallica, but tax officials said the name was "inappropriate". Under Swedish law, both first names and surnames need to win the approval of authorities before they can be used. Cool parents.
In 2003, the Rolling Stones played their first ever gig in India, rocking Bangalore in the middle of a monsoon before a crowd of 30,000 fans.
Rolling Stones guitarist, Keith Richards, gets an inordinate amount of press in 2007 after stating that he snorted his cremated father's ashes (along with cocaine) in '02. The musician's publicist later claims Richards made the comment in "jest." Uhmmm, OK Keith….
Rob Zombie's fourth solo album, "Educated Horses," was #1 on Billboard’s Top Rock Albums tally in 2006. The album sold over 100,000 copies in its first week.
On Billboard’s Hot 100 in 1964, The Beatles hold the top five positions with “Can’t Buy Me Love” (simultaneously #1 in the U.S. and U.K.), “Twist & Shout,” “She Loves You,” “I Want To Hold Your Hand” and “Please Please Me.” By the time “Can’t Buy Me Love” is knocked from the top spot (by Louis Armstrong’s “Hello Dolly”), The Beatles have had the #1 song for three consecutive months (“I Want To Hold Your Hand” and “She Loves You” contribute to the run). In related news, Billboard reports that just about everyone is tired of The Beatles (DJs, pop music writers, etc.) except the public. Guess Beatlemania was in full swing.
Mick Mars- Motley Crue (1955)
Disco diva Carol Douglas (1948)
Dave Hill- Slade (1952)
Gary Moore- Skid Row (1952)
Pete Haycock- Climax Blues Band (1952)
Hugh Masekela (#1 single “Grazing In The Grass”) (1939)
Legendary record exec Clive Davis was born in 1934. He had commercial and creative high-points at both the Columbia and Arista labels. He currently heads J Records.
They Are Missed:
Born in 1941- Major Lance (died of heart failure March 9, 1994).
Sharon Sheeley, US songwriter- 1940. Hits included “Poor Little Fool” (#1 for Ricky Nelson) in 1958 and 1959 hit for Eddie Cochran “Somethin' Else.” Sheeley became Cochran's girlfriend and survived the car crash that killed Cochran in 1960. She died on May 17, 2002 aged 62.
Berry Oakley, Allman Brothers Band- 1948 (killed in a motorcycle accident November 11, 1972.
Muddy Waters was born in Rolling Fork, Mississippi in 1915. (real name McKinley Morganfield-died April 30, 1983)Margo Sylvia of the Tune Weavers was born in 1936.
History:
The ashes of the Grateful Dead's Jerry Garcia were scattered in the Ganges River in India in 1996.
The Clash release their self-titled debut album in 1977.
In 2002 it was announced that the 19-year-old band Megadeth had broken up. The break up was due to an injury to Dave Mustaine's left arm and hand that had left him unable to play guitar.
Elvis Presley recorded "Are You Lonesome Tonight" in 1960.
In 1968, Jimi Hendrix, B.B. King, Buddy Guy, Joni Mitchell, Al Kooper and Ted Nugent met up for an all night blues, folk and rock session at The New Generation Club, New York after hearing the news of Martin Luther King's assassination.
The Rolling Stones released their self-titled debut album in 1964.
Also in 1964, in court, the Trashmen were ordered to pay copyright and royalties to Beechwood Music. A judge had ruled that their 1963 hit "Surfin' Bird" utilized substantial portions of the Rivingtons' nonsense hits "Papa Oom Mow Mow" and "The Bird Is the Word."
In 1965, John Lennon and Paul McCartney composed "Help!” the title track to the Beatles' second film.
"It Doesn't Matter Anymore" became Buddy Holly's first posthumous hit in 1959, peaking at #13.
According to today's issue of Billboard in 1960, RCA Victor will now release all its pop singles in the mono and stereo formats. The first single issued under the new policy is Elvis Presley's "Stuck on You."
Styx's "Paradise Theater" went to #1 in 1981. It would become their fourth album in a row to go triple-platinum, setting a new sales record.
In 1994, Kurt Cobain's mother filed a missing-persons report on her son. Here’s an idea, why not check the house where he lived…..
In a statement by Paul McCartney in 1996, he was still denying the Beatles will re-form. "The Beatles aren't interested," he says. "Money is not an issue. We wouldn't do it for twice as much. The answer is no." Too bad for Heather.
The film soundtrack from “Wayne's World” started a two-week run at #1 on the US album chart in 1992.
A Swedish couple ran into trouble with authorities in 2007 after trying to name their baby Metallica. Michael and Karolina Tomaro went to court with the country's National Tax Authority about naming their daughter after the rock band. The six-month-old has been baptised Metallica, but tax officials said the name was "inappropriate". Under Swedish law, both first names and surnames need to win the approval of authorities before they can be used. Cool parents.
In 2003, the Rolling Stones played their first ever gig in India, rocking Bangalore in the middle of a monsoon before a crowd of 30,000 fans.
Rolling Stones guitarist, Keith Richards, gets an inordinate amount of press in 2007 after stating that he snorted his cremated father's ashes (along with cocaine) in '02. The musician's publicist later claims Richards made the comment in "jest." Uhmmm, OK Keith….
Rob Zombie's fourth solo album, "Educated Horses," was #1 on Billboard’s Top Rock Albums tally in 2006. The album sold over 100,000 copies in its first week.
On Billboard’s Hot 100 in 1964, The Beatles hold the top five positions with “Can’t Buy Me Love” (simultaneously #1 in the U.S. and U.K.), “Twist & Shout,” “She Loves You,” “I Want To Hold Your Hand” and “Please Please Me.” By the time “Can’t Buy Me Love” is knocked from the top spot (by Louis Armstrong’s “Hello Dolly”), The Beatles have had the #1 song for three consecutive months (“I Want To Hold Your Hand” and “She Loves You” contribute to the run). In related news, Billboard reports that just about everyone is tired of The Beatles (DJs, pop music writers, etc.) except the public. Guess Beatlemania was in full swing.
A closer look at... Vintage Vinyl
Getting grooves at a priceless record store
by Jeremy Gordon
Vintage Vinyl owner Steve Kay looks like a record collector. He wears average glasses (no square frames a la alt-bro music store clerks), wears his hair long like a character in Dazed and Confused but with a lot more gray, and looks serious enough to be in record collecting for the long haul. You know the type - crate after crate of LPs in the living room, a partially scratched off list of sought-after treasures stashed away somewhere and more obscure knowledge than a thousand Internet fan pages.
Or maybe you don't know the type. Only recently has vinyl has re-emerged as a popular medium, meaning you may not know any record collectors at all. In 2008, vinyl sales doubled from the previous year as 1.9 million wax records got pushed in music shops around the country, according to Nielsen Soundscan. If you're interested in why anyone cares about a once-dead and cumbersome format, there are few better places to dive into the vinyl arena than Vintage Vinyl, which is located close to campus on 925 Davis St.
Kay's made a living out of his record collecting for a long time; the store's been open for 29 years, and with its massive inventory doesn't even include any of Kay's personal records for sale. "None of them were from my collection," he says. "They were all things I bought with the idea of opening a shop."
He's bought a lot, on buying trips to Europe and being contacted by other dealers looking to sell. Vintage Vinyl stands out from a lot of record stores, and this is no descriptive hyperbole: The store traffics in more rarities than a typical record shop, a one-stop for Holy Grail finds and out-of-print relics from a long-gone era. There's a $200 promo copy of a reissued David Bowie record, a limited-edition recording of a Joy Division concert, bootleg CDs of never-published Neil Young concerts, walls lined with antique posters and, of course, a lot more. Vintage Vinyl is a treasure trove of cool things - it's easy to flip through a random box and marvel at the selection.
When asked how often he sees a Holy Grail record, he smiles a knowing look and says, "Every day," citing a recently purchased copy of the first Beatles record, released on little-known label Vee Jay. "At this point, personally, I have all the things I've always looked for. Those have come my way at various points in time. But for the shop, people ask for specific things we don't have. They know we've been around a long time."
The store's attracted its amount of fame in pop culture as well - it was used as the inspiration and namesake for John Cusack's record shop in High Fidelity, and is extensively featured as a location in the novel The Time Traveler's Wife as the source of new music for the characters. Kay attributes the rise in business more to the surge in interest in the vinyl more than these pop culture references. He also sees it as a natural direction of the music market.
"I think it's the way record labels are trying to stay in business," he says. "I also think it's a great idea because it's the best of both worlds. It allows people to explore the idea of owning a record and also have the electronic medium."
To record labels, the vinyl resurgence might be a business and a grasp to remain relevant, but it remains Kay's life as it has been for almost 30 years. "I still actually don't realize that," he says when asked about the moment he realized his record collecting wasn't just a hobby. "This is a day and night job." The introduction of the Internet has added an entire new element to record-collecting; now, buyers can purchase a record without having ever seen it in person. "For a large percentage of people, they don't have the access, so the Internet makes everything accessible. It brings it to your door. For us, it opened up a whole world of people who are like-minded and were never able to reach them."
While the stuff that Vintage Vinyl pushes is a little higher end and takes more consideration to buy than a ratty used Van Halen LP, the store is an excellent resource for vinyl aficionados, would-be aficionados and those with a lot of money to drop. You can also peruse the store's catalogue on their Web site at www.vvmo.com to see if they have anything that tickles your fancy.
SOURCE: http://media.www.dailynorthwestern.com
by Jeremy Gordon
Vintage Vinyl owner Steve Kay looks like a record collector. He wears average glasses (no square frames a la alt-bro music store clerks), wears his hair long like a character in Dazed and Confused but with a lot more gray, and looks serious enough to be in record collecting for the long haul. You know the type - crate after crate of LPs in the living room, a partially scratched off list of sought-after treasures stashed away somewhere and more obscure knowledge than a thousand Internet fan pages.
Or maybe you don't know the type. Only recently has vinyl has re-emerged as a popular medium, meaning you may not know any record collectors at all. In 2008, vinyl sales doubled from the previous year as 1.9 million wax records got pushed in music shops around the country, according to Nielsen Soundscan. If you're interested in why anyone cares about a once-dead and cumbersome format, there are few better places to dive into the vinyl arena than Vintage Vinyl, which is located close to campus on 925 Davis St.
Kay's made a living out of his record collecting for a long time; the store's been open for 29 years, and with its massive inventory doesn't even include any of Kay's personal records for sale. "None of them were from my collection," he says. "They were all things I bought with the idea of opening a shop."
He's bought a lot, on buying trips to Europe and being contacted by other dealers looking to sell. Vintage Vinyl stands out from a lot of record stores, and this is no descriptive hyperbole: The store traffics in more rarities than a typical record shop, a one-stop for Holy Grail finds and out-of-print relics from a long-gone era. There's a $200 promo copy of a reissued David Bowie record, a limited-edition recording of a Joy Division concert, bootleg CDs of never-published Neil Young concerts, walls lined with antique posters and, of course, a lot more. Vintage Vinyl is a treasure trove of cool things - it's easy to flip through a random box and marvel at the selection.
When asked how often he sees a Holy Grail record, he smiles a knowing look and says, "Every day," citing a recently purchased copy of the first Beatles record, released on little-known label Vee Jay. "At this point, personally, I have all the things I've always looked for. Those have come my way at various points in time. But for the shop, people ask for specific things we don't have. They know we've been around a long time."
The store's attracted its amount of fame in pop culture as well - it was used as the inspiration and namesake for John Cusack's record shop in High Fidelity, and is extensively featured as a location in the novel The Time Traveler's Wife as the source of new music for the characters. Kay attributes the rise in business more to the surge in interest in the vinyl more than these pop culture references. He also sees it as a natural direction of the music market.
"I think it's the way record labels are trying to stay in business," he says. "I also think it's a great idea because it's the best of both worlds. It allows people to explore the idea of owning a record and also have the electronic medium."
To record labels, the vinyl resurgence might be a business and a grasp to remain relevant, but it remains Kay's life as it has been for almost 30 years. "I still actually don't realize that," he says when asked about the moment he realized his record collecting wasn't just a hobby. "This is a day and night job." The introduction of the Internet has added an entire new element to record-collecting; now, buyers can purchase a record without having ever seen it in person. "For a large percentage of people, they don't have the access, so the Internet makes everything accessible. It brings it to your door. For us, it opened up a whole world of people who are like-minded and were never able to reach them."
While the stuff that Vintage Vinyl pushes is a little higher end and takes more consideration to buy than a ratty used Van Halen LP, the store is an excellent resource for vinyl aficionados, would-be aficionados and those with a lot of money to drop. You can also peruse the store's catalogue on their Web site at www.vvmo.com to see if they have anything that tickles your fancy.
SOURCE: http://media.www.dailynorthwestern.com
Vinyl Fever Heats Up For Record Store Day April 18
April 18th event celebrates independent music stores with special vinyl and CD releases, surprise guests & more
Tampa, FL - Vinyl Fever Tampa knows that music is the cure for whatever ails you, and for decades the community record store has delivered.
On April 18, the public is invited to help Vinyl Fever celebrate the 2nd annual Record Store Day, a nationwide event in which independent music stores mark their survival in a world gone wired.
“What we do is here is a lot more than sell music. We live and breathe music,” said owner Lee Wolfson, who has been in the business for more than 28 years.
“Our employees are musicians, DJs, promoters of live music -- people who are tapped in to the musical community,” Wolfson added. “And our customers are equally passionate about music. People come to our store to talk music, share new discoveries, and learn what others are doing. That’s something you could never get by just being alone with an iPod.”
Record Store Day was launched last year to remind people that downloading music is not the same as a trip to a record store, that music is a shared experience, and that CDs and records -- with their wonderful graphic design, liner notes and packaging -- are an important aspect of the experience, and anything but dead.
"I don't know what I would do without indie record stores,” says Colin Meloy of The Decemberists, who will release a special Record Store Day 7” vinyl. “Growing up in a town without them, I can tell you that it's no fun to shop for indie records at chain box stores."
Several major artists are supporting Record Store Day by issuing special vinyl, CDs and DVDs to mark the day, including Radiohead, Wilco, Tom Waits, Bruce Springsteen, Leonard Cohen, Slipknot, Jane’s Addiction, Rivers Cuomo and many more.
Vinyl Fever is marking the occasion in Tampa with a day full of festivities including music, food, special guests and other surprises.
The store will also be offering, for the first time, a large portion of unusual, collectible records from a group of 3,500 LPs recently purchased from a music industry veteran. Among the gems in this collection are all 61 albums issued on the Apple label by groups other than The Beatles. Guest DJs will be dropping by to spin some of the vintage vinyl.
With records seeing a resurgence -- in 2008 sales of vinyl jumped to 1.9 million, up from 858,000 just three years ago -- Wolfson expects interest in the collection.
But more important, after a healthy turnout for last year’s festivities, he is looking forward to seeing the support of folks who appreciate the role record stores play in the community.
“Music is spiritual comfort food,” Wolfson said. “These days that seems more important than ever.”
Having grown up shopping in record stores, many music heavyweights are supporting the event and the participating stores.
"Immersing yourself in the environment of a real record store where music is celebrated and cherished adds real value to the experience of buying music. In some ways, that retail experience is as important as the music.” – John Mellencamp
“There’s nothing as glamorous to me as a record store. When I recently played Amoeba in LA, I realized what fantastic memories such a collection of music brings back when you see it all in one place. This is why I’m more than happy to support Record Store Day and I hope that these kinds of stores will be there for us all for many years to come.” – Paul McCartney
“Nothing beats browsing in your favorite store, listening to music, finding something new or old that you've been searching for, being ignored by the store clerks, all that. And without these stores, there's just no way Wilco would still be around. – Jeff Tweedy, Wilco
About Vinyl Fever:
Vinyl Fever Tampa is an independent record store that has served the Bay area since 1981. Store owner Lee Wolfson is a veteran of the music business and a founding member of the Tampa Independent Business Alliance (www.tibatampa.org). Along with vinyl and new and used CDs and DVDs, the 3,400-square-foot store frequently hosts live performances from local and national bands. The store is located at 4110 Henderson Blvd. in Tampa. For more information, visit www.vinylfevertampa.com.
SOURCE: http://tampa-florida.olx.com/
Friday, April 3, 2009
Rock & Roll Hall Of Fame Inducties
Reveived this note from the Rock & Roll Hall of Fame, stop by the site, show your support and read the great information about this year's inducties!
Hi Robert!
I’m working on behalf of Positively Cleveland. Since the Rock and Roll Hall of Fame Induction Ceremony is tomorrow, I wanted to keep you and your readers informed about the latest news. There’s an awesome new website called Rock Immortal, created by the Rock Hall of Fame, where fans of the artists being inducted this year can help to create a digital monument for the artists. The site also has all of the latest info about the events leading to the ceremony!
Fans can upload images, videos and stories in tribute to their favorite 2009 Rock and Roll Hall of Fame inductee!
You can check out Rock Immortal at: www.rockimmortal.com
This Years Inducties:
Jeff Beck
Little Anthony & The Imperials
Metallica
Run D.M.C.
Bobby Womack
Wanda Jackson
Hi Robert!
I’m working on behalf of Positively Cleveland. Since the Rock and Roll Hall of Fame Induction Ceremony is tomorrow, I wanted to keep you and your readers informed about the latest news. There’s an awesome new website called Rock Immortal, created by the Rock Hall of Fame, where fans of the artists being inducted this year can help to create a digital monument for the artists. The site also has all of the latest info about the events leading to the ceremony!
Fans can upload images, videos and stories in tribute to their favorite 2009 Rock and Roll Hall of Fame inductee!
You can check out Rock Immortal at: www.rockimmortal.com
This Years Inducties:
Jeff Beck
Little Anthony & The Imperials
Metallica
Run D.M.C.
Bobby Womack
Wanda Jackson
Michael Fremer Review
I am very proud to continue our new feature (look for this every Friday), music reviews that are written by the senior contributing editor of Stereophile magazine- Michael Fremer. It has been a pleasure to speak with Michael and learn more about audio sound and equipment. In fact, his new DVD, "It's A Vinyl World, After All" has hit the shelves and is selling out very quickly. This is a must have for anybody who loves vinyl, it is a true masterpiece.
Additionally, make sure to stop by his site, www.musicangle.com and bookmark it for further exploration. I certainly want to thank Michael for the exclusive rights to reprint his fantastic material.
Bob Dylan (recent release)
Tell Tale Signs, Rare and Unreleased 1989-2006: Volume 8
Columbia 88697 35796 1, 4 180g LPs+digital download
Produced by: Jeff Rosen
Engineered by: Various engineers
Mixed by: Various mixers
Mastered by: Greg Calbi at Sterling Sound
A&R: Steve Berkowitz
Review by: Michael Fremer
2009-04-01
Larry “Ratso” Sloman’s annotation brings into sharp, entertaining focus this collection of vital Dylan outtakes, alternative takes, unreleased tracks and live performances from 1989’s Oh Mercy sessions through his most recent 2006 release Modern Times.
There’s not a throwaway or “curiosity” in the bunch. Back in 1987, Sloman recounts, Dylan had booked some dates with The Grateful Dead, at a time when he felt pretty much washed up and ready to retire as he wrote in his autobiography “Chronicles-Volume One.”
During the first rehearsal Garcia had urged Dylan to try out some of his more obscure songs but Dylan felt so disconnected he used a lame excuse and fled the space. On the way back to his hotel, Dylan stopped into a local bar where he heard an older gentleman delivering some jazz standards in a style that immediately spoke to the spent superstar. It so inspired Dylan that he immediately returned to the rehearsal space and began trying out the old tunes. At least that’s the story. With Dylan you never know! At least it’s a good story. Dylan had a second fall and rose yet again from the creative dead in front of a Swiss audience in 1987.
This tumultuous period of self-doubt and creative outbursts produced the swampy brilliance of Oh Mercy and the confused Under the Red Sky,” but even that album had a few worthwhile tracks, though nothing from those sessions are found here.
There are seven tracks from the Daniel Lanois producedOh Mercy sessions and six from Time Out of Mind. Less is sometimes more and that’s the case with these revealing, under-produced, unadorned tracks. The feel is live, exploratory and vital. These are not “leftovers” in any sense of the word. In fact, Dylan sounds more vital on most of these tracks than on the more polished studio albums that came from these sessions. The live unreleased tracks are a treat—which is more than I can say for the live show I saw at the PNC center in New Jersey a few years ago when Tom Petty opened for Dylan. Tom’s set was reliably swell. Dylan came out and played keyboard in front of an unidentified older looking gent in Bermuda shorts who played guitar while conferring with Bob about the chords. We walked out half way through. There was nothing happening on the stage that night but plenty was in 1993 when Dylan sang “Ring Them Bells” at The Supper Club, which is included here.
This 4 LP set was cut from 16 bit 44.1K files so why would anyone bother with it instead of just getting the far less expensive CD set?
Well, there’s the packaging and the free MP3 download that’s part of the purchase price. Of course, if you buy the CD set you can upload higher quality files to your pod of choice but you can’t beat the 12”x12” full color perfect-bound, full color book (calling it a “booklet”) would be an injustice.
The photos are stark and instructional, showing Dylan both empty and fulfilled. The annotation is at the same time brutally honest and sympathetic and the credits are unusually complete.
Greg Calbi, who mastered the set at Sterling Sound culled from disparate digital sources sent by the set’s compiler, brought over some CD refs so we could compare them to the vinyl cut at Sterling by Ray Janos.
George Marino’s room at Sterling has recently been retro-fitted with a preview head-equipped playback deck that will once again allow Sterling to cut AAA vinyl, but of course given the set’s source material that system couldn’t be used.
Comparing the actual source with the vinyl proved interesting! Ideally the tonal balance should be identical, assuming your goal is faithfulness to the source. That’s not everyone’s goal judging by what some listeners prefer, but that’s another story!
I had the $80,000 four box DCS stack here to use as a digital source (transport, DAC, word clock and upsampler) and my reference Continuum Caliburn turntable and Manley Steelhead to use as the analog source.
The well-pressed 180g vinyl sounded tonally identical to the CD through the Steelhead—less so through some other phono preamps here for review. However, the vinyl’s additive qualities produce a greater sense of realism without losing any of the CD’s positive attributes. There’s something about the vinyl process that does that. When properly played back there’s magic and I really don’t care from where it comes. It’s just there.
Tell Tale Signs-The Bootleg Series Vol. 8 is a surprisingly vital and coherent abridgement of a creatively mixed but ultimately rich and triumphant period for Dylan.
SOURCE: http://www.musicangle.com Reprinted By Permission
Pick up Michael's DVD's Here:
Copyright © 2008 MusicAngle.com & Michael Fremer - All rights reserved
Additionally, make sure to stop by his site, www.musicangle.com and bookmark it for further exploration. I certainly want to thank Michael for the exclusive rights to reprint his fantastic material.
Bob Dylan (recent release)
Tell Tale Signs, Rare and Unreleased 1989-2006: Volume 8
Columbia 88697 35796 1, 4 180g LPs+digital download
Produced by: Jeff Rosen
Engineered by: Various engineers
Mixed by: Various mixers
Mastered by: Greg Calbi at Sterling Sound
A&R: Steve Berkowitz
Review by: Michael Fremer
2009-04-01
Larry “Ratso” Sloman’s annotation brings into sharp, entertaining focus this collection of vital Dylan outtakes, alternative takes, unreleased tracks and live performances from 1989’s Oh Mercy sessions through his most recent 2006 release Modern Times.
There’s not a throwaway or “curiosity” in the bunch. Back in 1987, Sloman recounts, Dylan had booked some dates with The Grateful Dead, at a time when he felt pretty much washed up and ready to retire as he wrote in his autobiography “Chronicles-Volume One.”
During the first rehearsal Garcia had urged Dylan to try out some of his more obscure songs but Dylan felt so disconnected he used a lame excuse and fled the space. On the way back to his hotel, Dylan stopped into a local bar where he heard an older gentleman delivering some jazz standards in a style that immediately spoke to the spent superstar. It so inspired Dylan that he immediately returned to the rehearsal space and began trying out the old tunes. At least that’s the story. With Dylan you never know! At least it’s a good story. Dylan had a second fall and rose yet again from the creative dead in front of a Swiss audience in 1987.
This tumultuous period of self-doubt and creative outbursts produced the swampy brilliance of Oh Mercy and the confused Under the Red Sky,” but even that album had a few worthwhile tracks, though nothing from those sessions are found here.
There are seven tracks from the Daniel Lanois producedOh Mercy sessions and six from Time Out of Mind. Less is sometimes more and that’s the case with these revealing, under-produced, unadorned tracks. The feel is live, exploratory and vital. These are not “leftovers” in any sense of the word. In fact, Dylan sounds more vital on most of these tracks than on the more polished studio albums that came from these sessions. The live unreleased tracks are a treat—which is more than I can say for the live show I saw at the PNC center in New Jersey a few years ago when Tom Petty opened for Dylan. Tom’s set was reliably swell. Dylan came out and played keyboard in front of an unidentified older looking gent in Bermuda shorts who played guitar while conferring with Bob about the chords. We walked out half way through. There was nothing happening on the stage that night but plenty was in 1993 when Dylan sang “Ring Them Bells” at The Supper Club, which is included here.
This 4 LP set was cut from 16 bit 44.1K files so why would anyone bother with it instead of just getting the far less expensive CD set?
Well, there’s the packaging and the free MP3 download that’s part of the purchase price. Of course, if you buy the CD set you can upload higher quality files to your pod of choice but you can’t beat the 12”x12” full color perfect-bound, full color book (calling it a “booklet”) would be an injustice.
The photos are stark and instructional, showing Dylan both empty and fulfilled. The annotation is at the same time brutally honest and sympathetic and the credits are unusually complete.
Greg Calbi, who mastered the set at Sterling Sound culled from disparate digital sources sent by the set’s compiler, brought over some CD refs so we could compare them to the vinyl cut at Sterling by Ray Janos.
George Marino’s room at Sterling has recently been retro-fitted with a preview head-equipped playback deck that will once again allow Sterling to cut AAA vinyl, but of course given the set’s source material that system couldn’t be used.
Comparing the actual source with the vinyl proved interesting! Ideally the tonal balance should be identical, assuming your goal is faithfulness to the source. That’s not everyone’s goal judging by what some listeners prefer, but that’s another story!
I had the $80,000 four box DCS stack here to use as a digital source (transport, DAC, word clock and upsampler) and my reference Continuum Caliburn turntable and Manley Steelhead to use as the analog source.
The well-pressed 180g vinyl sounded tonally identical to the CD through the Steelhead—less so through some other phono preamps here for review. However, the vinyl’s additive qualities produce a greater sense of realism without losing any of the CD’s positive attributes. There’s something about the vinyl process that does that. When properly played back there’s magic and I really don’t care from where it comes. It’s just there.
Tell Tale Signs-The Bootleg Series Vol. 8 is a surprisingly vital and coherent abridgement of a creatively mixed but ultimately rich and triumphant period for Dylan.
SOURCE: http://www.musicangle.com Reprinted By Permission
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Copyright © 2008 MusicAngle.com & Michael Fremer - All rights reserved
Why Has Vinyl Records Become So Popular Again?
By Joe Boikowich
The vinyl format has always been popular between hi-fi enthusiast and music passionates. For these people the vinyl record was always considered to be the true release and the general opinion was that the format has a richer and more interesting sound. Despite of this the vinyl was loved by the few. However, over the last couple of years the vinyl record has increased its popularity enormously, which has manifested itself in a tremendous sales growth. This has partly given the struggling independent record stores a new chance and even huge retailers have started to sell vinyl records.
The question is how could a format that was virtually dead suddenly become so enormously popular again, especially with young crowd, who was not even born at the prime of the format. This article will take a brief look at the history of the vinyl record in order to understand what factors made this possible.
Vinyl was the first commercial physical music format and for a long time it therefore dominated the market for physical music. Several different types of vinyl records were developed, but in general, when people wanted to buy music to play at home there was no other choice than to buy it on vinyl. However, at some point the compact disc (CD) came around and that quickly put an end to the vinyl format for most people. The CD was smaller, cheaper to produce and some would argue that it had better sound quality. Also, people could easily bring the CD with them to play it in the car, while working out or on their Discman. At some point it also became possible to copy the content of a CD to another CD and a little bit later the content could also be copied to a computer and converted to mp3 files. The last part was the beginning of the end for the CD format.
As CDs could easily be ripped to mp3, people had better Internet connections and new file sharing services were developed buying music gradually became less of a necessity for the more technically savvy music lovers. It didn't take long before whatever music you would want could be downloaded for free. So when the content suddenly was available for free, why should people then buy CDs? Well, of course there's the moral question, but except from that the CD format did not provide any extra value that would convince a lot of people to pay for it. As digital music online has become even more convenient to consume and we're living in a world where streaming music is the most convenient option this has become even truer. So the case is that the CD format has become a format stuck in the middle. It lacks the flexibility of streaming and the great physical characteristics of the vinyl format. The vinyl format and streaming are perfectly negatively correlated, and as a consequence of that perfectly compatible. While streaming offers superior convenience on one hand, vinyl offers the ultimate physical experience on the other hand by being a piece of art in itself.
So what exactly are these neat characteristics of the vinyl format? Well, one thing to start with is the cover art. The vinyl has much more space for cover art than a CD and is different from what can be thought of as cover art online. This makes it easier to enjoy the work that is put into create something unique. Another characteristic related to this is that people by nature are collectors. Everyone likes to collect something. Since digital music has no scarcity it just doesn't make much sense to collect it. Vinyl on the other hand is perfect for collecting. Music lovers like to show their dedication and support to a band by buying the record and it fits nicely on the shelf just as books do.
Another, and often debated characteristic, is the sound quality. Many vinyl lovers claim that it is the cracks, pops and hisses that create the special vinyl sound and make vinyl unique. It is for sure true that this is an important part of the vinyl experience, however, whether or not this is important depends on two factors. First, a person naturally needs to have a preference for this type of sound and second; the record must be mastered specifically for vinyl, which means analog mastering.
A final factor which contributes to the attractiveness of the vinyl format is the listening experience. Listening to music on vinyl is a ritual in its own. Picking the right vinyl, putting the needle on the record, getting up to flip the record before picking up a new one. This physical listening experience stands in stark contrast to the digital one and too a higher extent require that people take time to actually listen to a record and listening to it in its entirety. In that regard listening to music on vinyl therefore often can be experienced as a break from the daily stress and routines.
The future indeed looks bright.
Joe Boikowich writes about music formats and vinyl records. For more information check out Nylvi. Nylvi is a new social marketplace for buying and selling vinyl records. For more info about the idea behind NYLVI have a look here.
The vinyl format has always been popular between hi-fi enthusiast and music passionates. For these people the vinyl record was always considered to be the true release and the general opinion was that the format has a richer and more interesting sound. Despite of this the vinyl was loved by the few. However, over the last couple of years the vinyl record has increased its popularity enormously, which has manifested itself in a tremendous sales growth. This has partly given the struggling independent record stores a new chance and even huge retailers have started to sell vinyl records.
The question is how could a format that was virtually dead suddenly become so enormously popular again, especially with young crowd, who was not even born at the prime of the format. This article will take a brief look at the history of the vinyl record in order to understand what factors made this possible.
Vinyl was the first commercial physical music format and for a long time it therefore dominated the market for physical music. Several different types of vinyl records were developed, but in general, when people wanted to buy music to play at home there was no other choice than to buy it on vinyl. However, at some point the compact disc (CD) came around and that quickly put an end to the vinyl format for most people. The CD was smaller, cheaper to produce and some would argue that it had better sound quality. Also, people could easily bring the CD with them to play it in the car, while working out or on their Discman. At some point it also became possible to copy the content of a CD to another CD and a little bit later the content could also be copied to a computer and converted to mp3 files. The last part was the beginning of the end for the CD format.
As CDs could easily be ripped to mp3, people had better Internet connections and new file sharing services were developed buying music gradually became less of a necessity for the more technically savvy music lovers. It didn't take long before whatever music you would want could be downloaded for free. So when the content suddenly was available for free, why should people then buy CDs? Well, of course there's the moral question, but except from that the CD format did not provide any extra value that would convince a lot of people to pay for it. As digital music online has become even more convenient to consume and we're living in a world where streaming music is the most convenient option this has become even truer. So the case is that the CD format has become a format stuck in the middle. It lacks the flexibility of streaming and the great physical characteristics of the vinyl format. The vinyl format and streaming are perfectly negatively correlated, and as a consequence of that perfectly compatible. While streaming offers superior convenience on one hand, vinyl offers the ultimate physical experience on the other hand by being a piece of art in itself.
So what exactly are these neat characteristics of the vinyl format? Well, one thing to start with is the cover art. The vinyl has much more space for cover art than a CD and is different from what can be thought of as cover art online. This makes it easier to enjoy the work that is put into create something unique. Another characteristic related to this is that people by nature are collectors. Everyone likes to collect something. Since digital music has no scarcity it just doesn't make much sense to collect it. Vinyl on the other hand is perfect for collecting. Music lovers like to show their dedication and support to a band by buying the record and it fits nicely on the shelf just as books do.
Another, and often debated characteristic, is the sound quality. Many vinyl lovers claim that it is the cracks, pops and hisses that create the special vinyl sound and make vinyl unique. It is for sure true that this is an important part of the vinyl experience, however, whether or not this is important depends on two factors. First, a person naturally needs to have a preference for this type of sound and second; the record must be mastered specifically for vinyl, which means analog mastering.
A final factor which contributes to the attractiveness of the vinyl format is the listening experience. Listening to music on vinyl is a ritual in its own. Picking the right vinyl, putting the needle on the record, getting up to flip the record before picking up a new one. This physical listening experience stands in stark contrast to the digital one and too a higher extent require that people take time to actually listen to a record and listening to it in its entirety. In that regard listening to music on vinyl therefore often can be experienced as a break from the daily stress and routines.
The future indeed looks bright.
Joe Boikowich writes about music formats and vinyl records. For more information check out Nylvi. Nylvi is a new social marketplace for buying and selling vinyl records. For more info about the idea behind NYLVI have a look here.
Scratch the notion that LPs are a "sunset market."
Despite - and perhaps because of - digital trend, vinyl is now retro chic
By Daniel Rubin
Inquirer Staff Writer
With 1,973 songs in his iPod and Radiohead's "Karma Police" on his earphones, Brian Brazina strode into Spaceboy Music on South Street searching for digital delivery.
But it was fresh vinyl that grabbed the 25-year-old - a brand-new, cellophane-wrapped pressing of Babes in Arms, a 1966-1971 rarities collection by the Detroit guitar-army called MC5.
"A great band," said Brazina, a Center City concierge, admiring the LP's oversize art. "I love the grainy sound of vinyl."
Against a trend of compactability, portability and personalization - and maybe because of them - vinyl is making an unlikely return.
You can't say vinyl is back because it was never really gone. Certainly not for audiophiles who swear by albums' warmer sound and tactile superiority, or DJs whose hunting and gathering kept record stores going during the leanest years, since the CD's arrival in 1983.
Since then, records and turntables have become what Brian Majeski, editor of Music Trades magazine, calls a "sunset market."
Greet the new morning. Urban Outfitters is selling sleek $300 turntables for the holidays, and retro models appear in catalogs from L.L. Bean, Hammacher Schlemmer, Restoration Hardware and Brookstone. Target, too.
Warner Bros. and Rhino Records are releasing their back catalogs on vinyl, including the entire LP collection of the Grateful Dead. Next year, Sony plans to reintroduce LPs.
"It's become trendy, cool, a novelty," said Stefanie Douglas, 28, manager at Cue Records at Fourth and South Streets, where DJs shop for soul, hip-hop and R&B wax to sample.
To walk into Spaceboy is to fall through time - rows of shiny LPs for sale: vintage Captain Beefheart next to classic wax by the New York Dolls, Bob Dylan's John Wesley Harding next to Love's Da Capo - all as newly minted as the Interpol, Elliott Smith and the Postal Service records on the other wall.
Much of that product comes from Sundazed, which is releasing 40 titles on vinyl this year.
When people in his hometown of Coxsackie, N.Y., ask label founder Bob Irwin why he still makes records, he tells them to check out prime-time TV.
"At some point, you'll see vinyl, whether it's the opening of Monk or One Tree Hill, with a guy standing in front of a rack of records, to ads for Toyota or Tide," says Irwin, 47. "It's all young people."
And they are the ones he still makes records for.
"I have no interest in selling music only to the audiophile community," he said. "I make records to introduce people to great music, and let them hear it on what I consider to be the best format available."
Fifteen years ago, Irwin started Sundazed, making CDs and a handful of albums - the Knickerbockers, the Trashmen - just as the major labels began phasing out vinyl.
Sundazed did fine, he said, until 1993, when the majors had given up and music stores followed suit. "People gave up looking for it," he said.
In the mid-'90s, he put out only four or five titles a year. His company's reputation attracted the attention of Bob Dylan's management in 2001, and Irwin was invited to reintroduce Dylan's original Columbia titles on vinyl.
Sundazed has now put out nine of them on hefty, 180-gram vinyl, priced comparably to a CD. Next year Sundazed will release 45 titles, from Aretha Franklin's first Atlantic album to five jazz LPs.
Matador, in New York City, is another label that has made vinyl work. "For us, vinyl sales are stronger than they have been for years, despite higher prices," said Patrick Amory, the indie label's general manager.
"We treat our LPs like luxury items, press them on heavy vinyl, do gatefolds, inserts, printed inners."
Amory says DJs have driven most of the sales, and new technology - digital machines that replicate the sound of records, scratching and all - will cause sales to slow.
The numbers for turntables, although modest, are on the rise. The International Music Products Association says about 69,000 players were sold last year, not counting professional mixers for DJs. That is the highest number since the 105,000 sold in 2000.
Record sales remain relatively low - about one for every 500 CDS sold, according to Nielsen SoundScan. With the majors getting back into vinyl, that presumably will increase.
Vinyl accounted for about 5 percent of the business at Old City's AKA Music two years ago - the last time owner Mike Hoffman checked. "I think it is going up a couple points," he said.
Why? Maybe it's digital backlash. Alan Light, editor of Tracks music magazine, notes that MP3 players have allowed albums to be deconstructed into "menus of songs," stripped of context.
LPs bring a fan back to the days of carefully sequenced sides of music - shorter, more essential.
But Light isn't putting too much stock into a vinyl revival. "My question is: 'How much are these turntables in these lifestyle stores intended to be listened to, and how much are they art pieces?' People are selling 12-by-12-inch frames to put album covers on their walls. Are they just sort of retro accessories that look cool, like the way people have manual typewriters around?"
Jim Webster, co-owner of the Philadelphia Record Exchange, at Fifth and South Street, says that kids are doing what they always have done: discovering previous generations' cast-offs.
"It has to do with an adventurousness of spirit," said Webster, 51, hand-rolling a Gauloise cigarette as a 60-year-old Mills Brothers song played on his turntable.
"Retro isn't a fashion. It's what you do when you're on your own and most things around you stink."
Dryw Skully, 28, who spins records each month at the 700 Club in Northern Liberties, has a purist's system for record purchases: If it was originally made for vinyl, he'll buy it on vinyl.
"You can go to the Princeton Record Exchange and pick up an old Rolling Stones record for $1 as opposed to getting a CD of it at Tower Records," he said.
"That record has been someplace. It has some vintage to it, some history. It's not from some jewel case that you open up and pop into the computer."
SOURCE: http://www.philly.com/
By Daniel Rubin
Inquirer Staff Writer
With 1,973 songs in his iPod and Radiohead's "Karma Police" on his earphones, Brian Brazina strode into Spaceboy Music on South Street searching for digital delivery.
But it was fresh vinyl that grabbed the 25-year-old - a brand-new, cellophane-wrapped pressing of Babes in Arms, a 1966-1971 rarities collection by the Detroit guitar-army called MC5.
"A great band," said Brazina, a Center City concierge, admiring the LP's oversize art. "I love the grainy sound of vinyl."
Against a trend of compactability, portability and personalization - and maybe because of them - vinyl is making an unlikely return.
You can't say vinyl is back because it was never really gone. Certainly not for audiophiles who swear by albums' warmer sound and tactile superiority, or DJs whose hunting and gathering kept record stores going during the leanest years, since the CD's arrival in 1983.
Since then, records and turntables have become what Brian Majeski, editor of Music Trades magazine, calls a "sunset market."
Greet the new morning. Urban Outfitters is selling sleek $300 turntables for the holidays, and retro models appear in catalogs from L.L. Bean, Hammacher Schlemmer, Restoration Hardware and Brookstone. Target, too.
Warner Bros. and Rhino Records are releasing their back catalogs on vinyl, including the entire LP collection of the Grateful Dead. Next year, Sony plans to reintroduce LPs.
"It's become trendy, cool, a novelty," said Stefanie Douglas, 28, manager at Cue Records at Fourth and South Streets, where DJs shop for soul, hip-hop and R&B wax to sample.
To walk into Spaceboy is to fall through time - rows of shiny LPs for sale: vintage Captain Beefheart next to classic wax by the New York Dolls, Bob Dylan's John Wesley Harding next to Love's Da Capo - all as newly minted as the Interpol, Elliott Smith and the Postal Service records on the other wall.
Much of that product comes from Sundazed, which is releasing 40 titles on vinyl this year.
When people in his hometown of Coxsackie, N.Y., ask label founder Bob Irwin why he still makes records, he tells them to check out prime-time TV.
"At some point, you'll see vinyl, whether it's the opening of Monk or One Tree Hill, with a guy standing in front of a rack of records, to ads for Toyota or Tide," says Irwin, 47. "It's all young people."
And they are the ones he still makes records for.
"I have no interest in selling music only to the audiophile community," he said. "I make records to introduce people to great music, and let them hear it on what I consider to be the best format available."
Fifteen years ago, Irwin started Sundazed, making CDs and a handful of albums - the Knickerbockers, the Trashmen - just as the major labels began phasing out vinyl.
Sundazed did fine, he said, until 1993, when the majors had given up and music stores followed suit. "People gave up looking for it," he said.
In the mid-'90s, he put out only four or five titles a year. His company's reputation attracted the attention of Bob Dylan's management in 2001, and Irwin was invited to reintroduce Dylan's original Columbia titles on vinyl.
Sundazed has now put out nine of them on hefty, 180-gram vinyl, priced comparably to a CD. Next year Sundazed will release 45 titles, from Aretha Franklin's first Atlantic album to five jazz LPs.
Matador, in New York City, is another label that has made vinyl work. "For us, vinyl sales are stronger than they have been for years, despite higher prices," said Patrick Amory, the indie label's general manager.
"We treat our LPs like luxury items, press them on heavy vinyl, do gatefolds, inserts, printed inners."
Amory says DJs have driven most of the sales, and new technology - digital machines that replicate the sound of records, scratching and all - will cause sales to slow.
The numbers for turntables, although modest, are on the rise. The International Music Products Association says about 69,000 players were sold last year, not counting professional mixers for DJs. That is the highest number since the 105,000 sold in 2000.
Record sales remain relatively low - about one for every 500 CDS sold, according to Nielsen SoundScan. With the majors getting back into vinyl, that presumably will increase.
Vinyl accounted for about 5 percent of the business at Old City's AKA Music two years ago - the last time owner Mike Hoffman checked. "I think it is going up a couple points," he said.
Why? Maybe it's digital backlash. Alan Light, editor of Tracks music magazine, notes that MP3 players have allowed albums to be deconstructed into "menus of songs," stripped of context.
LPs bring a fan back to the days of carefully sequenced sides of music - shorter, more essential.
But Light isn't putting too much stock into a vinyl revival. "My question is: 'How much are these turntables in these lifestyle stores intended to be listened to, and how much are they art pieces?' People are selling 12-by-12-inch frames to put album covers on their walls. Are they just sort of retro accessories that look cool, like the way people have manual typewriters around?"
Jim Webster, co-owner of the Philadelphia Record Exchange, at Fifth and South Street, says that kids are doing what they always have done: discovering previous generations' cast-offs.
"It has to do with an adventurousness of spirit," said Webster, 51, hand-rolling a Gauloise cigarette as a 60-year-old Mills Brothers song played on his turntable.
"Retro isn't a fashion. It's what you do when you're on your own and most things around you stink."
Dryw Skully, 28, who spins records each month at the 700 Club in Northern Liberties, has a purist's system for record purchases: If it was originally made for vinyl, he'll buy it on vinyl.
"You can go to the Princeton Record Exchange and pick up an old Rolling Stones record for $1 as opposed to getting a CD of it at Tower Records," he said.
"That record has been someplace. It has some vintage to it, some history. It's not from some jewel case that you open up and pop into the computer."
SOURCE: http://www.philly.com/
Music News & Notes
Mates Of State Tour, Offer Mash Up, Announce Remix Release Details
Mates of State and Black Kids are set to kick off a US trek that runs the length of April. In celebration of the double-barreled coast-to-coast barn burner, DJA of Mad Decent has created a Black Kids vs. Mates of State mash-up, premiered by the folks at RCRD LBL. Mates' "Re-arrange Us" and the Kids' "Look At Me" act as source material for the bass-heavy mixture.
Additionally, The Mates will be releasing "Re-Arranged: Remixes Volume 1" April 14th on Barsuk Records. This limited-edition 12" vinyl features four reinterpretations of tracks from Mates of State's 2008 release, "Re-arrange Us," with contributions from noted remixologists DJ Sega, Flosstradamus, The Mae Shi, and RAC. Packaged in a classic DJ white sleeve, this 12" EP is limited to 1000 copies worldwide and will be available exclusively on vinyl several weeks before hitting digital retailers.
============================
Montreux Jazz Festival Lineup
The Montreux Jazz Festival has announced their lineup for this year, which includes B.B. King, Bettye LaVette, Herbie Hancock, Steely Dan, Alice Cooper, Steve Winwood, Grace Jones, Marianne Faithfull, John Fogerty, Jeff Beck, Ray Parker Jr., Donna Summer and many, many more. The festival runs July 3 to 18 on the shores of Switerland's Lake Geneva.
============================
Ray Charles Goes Digital
The post-1960 Ray Charles catalog of 28 albums is set to go digital next Tuesday thanks to Concord Music. iTunes will have them exclusively for the first two weeks, at which time they will be released to the rest of the digital services.
"Ray Charles was a trailblazer and innovator in his music and the business of music. I am pleased Ray's songs are now available in all current formats. Concord enables the legacy to endure and prosper, " said Valerie Ervin, President of the Ray Charles Foundation.
============================
Former Genesis Drummer Dead
John Mayhew, the third drummer for Genesis (Phil Collins took his place), died on March 26 from a heart related condition. His only album with the group was Trespass.
Not much is known about Mayhew's lifeafter he left the band. He moved to Australia in the late-70's and worked as a carpenter, coming back just once to his native England. His brother, who had not seen him in 18 years, had started a search just two days before his death.
============================
Marvin Gaye Reissues
Yesterday would have been Marvin Gaye's 70th birthday. It was 25 years ago that Gaye was tragically killedby his father on the day before his 45th birthday.
Gaye's influence on music is undeniable. "I Heard It Through the Grapevine" was Motown's biggest selling single of the 60's and considered an iconic classic. His 1971 album "What's Going On" regularly lands in the lists of the top ten albums ever made and Rolling Stone recently placed him at number six on the list of the greatest singers.
Motown Records, which is celebrating it's own 50th anniversary, is saluting Gaye's birthday with the release of the rarities collection "Now & Then." The 14-track collection is only available digitally and runs from his days with Harvey and the Moonglows (Mama Loocie, Twelve Months of the Year) to a 2009 funk remix of "I Want You." In between are a recently found 1966 recording of a song called "Soulie," the deep vault track "It's Your Party" and tracks from before his hitmaking days (Witchcraft, Let Your Conscience Be Your Guide).
Also coming on April 14 is the vinyl reissue of the album "United" by Gaye and Tammi Terrell. The album includes the hits "If I Could Build My World Around You," "Your Precious Love" and "Ain't No Mountain High Enough."
============================
Kings, Matthews, No Doubt, Taylor Swift On Today
Kings of Leon, Dave Matthews Band, No Doubt and Taylor Swift will take the stage for The Today Show’s annual summer concert series. Fall Out Boy, Jonas Brothers, Katy Perry and Flo Rida will also join Matt Lauer and Co. Get the complete lineup after the jump.
============================
Jayhawks Reunite For pair Of Shows
Nineties Americana band the Jayhawks will reunite this summer for a pair of reunion shows, Reuters reports. For the first time in a decade, the band’s two principal members Gary Louris and Mark Olson will perform an American show, booking a date at Minneapolis’ Basilica Block Party on July 10th.
Mates of State and Black Kids are set to kick off a US trek that runs the length of April. In celebration of the double-barreled coast-to-coast barn burner, DJA of Mad Decent has created a Black Kids vs. Mates of State mash-up, premiered by the folks at RCRD LBL. Mates' "Re-arrange Us" and the Kids' "Look At Me" act as source material for the bass-heavy mixture.
Additionally, The Mates will be releasing "Re-Arranged: Remixes Volume 1" April 14th on Barsuk Records. This limited-edition 12" vinyl features four reinterpretations of tracks from Mates of State's 2008 release, "Re-arrange Us," with contributions from noted remixologists DJ Sega, Flosstradamus, The Mae Shi, and RAC. Packaged in a classic DJ white sleeve, this 12" EP is limited to 1000 copies worldwide and will be available exclusively on vinyl several weeks before hitting digital retailers.
============================
Montreux Jazz Festival Lineup
The Montreux Jazz Festival has announced their lineup for this year, which includes B.B. King, Bettye LaVette, Herbie Hancock, Steely Dan, Alice Cooper, Steve Winwood, Grace Jones, Marianne Faithfull, John Fogerty, Jeff Beck, Ray Parker Jr., Donna Summer and many, many more. The festival runs July 3 to 18 on the shores of Switerland's Lake Geneva.
============================
Ray Charles Goes Digital
The post-1960 Ray Charles catalog of 28 albums is set to go digital next Tuesday thanks to Concord Music. iTunes will have them exclusively for the first two weeks, at which time they will be released to the rest of the digital services.
"Ray Charles was a trailblazer and innovator in his music and the business of music. I am pleased Ray's songs are now available in all current formats. Concord enables the legacy to endure and prosper, " said Valerie Ervin, President of the Ray Charles Foundation.
============================
Former Genesis Drummer Dead
John Mayhew, the third drummer for Genesis (Phil Collins took his place), died on March 26 from a heart related condition. His only album with the group was Trespass.
Not much is known about Mayhew's lifeafter he left the band. He moved to Australia in the late-70's and worked as a carpenter, coming back just once to his native England. His brother, who had not seen him in 18 years, had started a search just two days before his death.
============================
Marvin Gaye Reissues
Yesterday would have been Marvin Gaye's 70th birthday. It was 25 years ago that Gaye was tragically killedby his father on the day before his 45th birthday.
Gaye's influence on music is undeniable. "I Heard It Through the Grapevine" was Motown's biggest selling single of the 60's and considered an iconic classic. His 1971 album "What's Going On" regularly lands in the lists of the top ten albums ever made and Rolling Stone recently placed him at number six on the list of the greatest singers.
Motown Records, which is celebrating it's own 50th anniversary, is saluting Gaye's birthday with the release of the rarities collection "Now & Then." The 14-track collection is only available digitally and runs from his days with Harvey and the Moonglows (Mama Loocie, Twelve Months of the Year) to a 2009 funk remix of "I Want You." In between are a recently found 1966 recording of a song called "Soulie," the deep vault track "It's Your Party" and tracks from before his hitmaking days (Witchcraft, Let Your Conscience Be Your Guide).
Also coming on April 14 is the vinyl reissue of the album "United" by Gaye and Tammi Terrell. The album includes the hits "If I Could Build My World Around You," "Your Precious Love" and "Ain't No Mountain High Enough."
============================
Kings, Matthews, No Doubt, Taylor Swift On Today
Kings of Leon, Dave Matthews Band, No Doubt and Taylor Swift will take the stage for The Today Show’s annual summer concert series. Fall Out Boy, Jonas Brothers, Katy Perry and Flo Rida will also join Matt Lauer and Co. Get the complete lineup after the jump.
============================
Jayhawks Reunite For pair Of Shows
Nineties Americana band the Jayhawks will reunite this summer for a pair of reunion shows, Reuters reports. For the first time in a decade, the band’s two principal members Gary Louris and Mark Olson will perform an American show, booking a date at Minneapolis’ Basilica Block Party on July 10th.
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