Pink Floyd - Us And Them
Saturday, April 25, 2009
Record Cleaner?
There are many ways to clean vinyl records and certainly many different opinions as to the best way. I found this curious looking gadget on Amazon and wonder of anyone has ever tried this product and if so, what did you think of it? Maybe it's like that tape 'demagnitzing gizmo' I bought many years ago- where I couldn't tell if the product had even done anything or not. But at around $200 for the Zerostat, I will keep my money in my pocket- and you should too. By the way, I have an anti-static cloth I use on my vinyl and for $10 or so, it has worked fine for me for years :O) Any Comments?
Zerostat 3
Product Description
If you play records, you know how much of problem static can be. Static discharge from record to cartridge results in (often loud) pops and ticks heard through the speakers, records have to be 'peeled' off vinyl platters and a charged record becomes a dust magnet. The most effective weapon against static is the Milty Zerostat 3 gun and it has been a mandatory weapon in the vinyl junkie's tool box for years.
The Zerostat 3 piezo-electric pistol emits a powerful stream of negative and positive ions that couple with the positive and negative static charges on the LP surface, neutralizing static electricity. Simply hold the Zerostat 3 pistol 12 inches from the LP, slowly squeeze then slowly release the trigger and you're done. No more static! The Zerostat 3 is also effective on removing static charge from CDs and DVDs. Zerostat retains its effectiveness for up to 50,000 trigger operations. It requires no power supply, batteries, or refills. An ion test indicator is included allowing you to check that the Zerostat 3 is working.
Zerostat 3 has many functions outside the audio world; many of our sales are to the commercial industry and laboratories.
Photography- removes dust from slides, film, negatives
Laboratory - Keeps film, glass, plastic ware, and lenses dust and lint free. It also prevents charged particles from flying during weighting or transfer of particles.
SEM labs - eliminating dust from critical samples or other critical surfaces when the dust attraction was being caused by electrostatic charge. Others have reported that certain insulating specimens, when treated this way, can actually be viewed (admittedly briefly) by SEM without the need to apply further coating.
Zerostat 3
Product Description
If you play records, you know how much of problem static can be. Static discharge from record to cartridge results in (often loud) pops and ticks heard through the speakers, records have to be 'peeled' off vinyl platters and a charged record becomes a dust magnet. The most effective weapon against static is the Milty Zerostat 3 gun and it has been a mandatory weapon in the vinyl junkie's tool box for years.
The Zerostat 3 piezo-electric pistol emits a powerful stream of negative and positive ions that couple with the positive and negative static charges on the LP surface, neutralizing static electricity. Simply hold the Zerostat 3 pistol 12 inches from the LP, slowly squeeze then slowly release the trigger and you're done. No more static! The Zerostat 3 is also effective on removing static charge from CDs and DVDs. Zerostat retains its effectiveness for up to 50,000 trigger operations. It requires no power supply, batteries, or refills. An ion test indicator is included allowing you to check that the Zerostat 3 is working.
Zerostat 3 has many functions outside the audio world; many of our sales are to the commercial industry and laboratories.
Photography- removes dust from slides, film, negatives
Laboratory - Keeps film, glass, plastic ware, and lenses dust and lint free. It also prevents charged particles from flying during weighting or transfer of particles.
SEM labs - eliminating dust from critical samples or other critical surfaces when the dust attraction was being caused by electrostatic charge. Others have reported that certain insulating specimens, when treated this way, can actually be viewed (admittedly briefly) by SEM without the need to apply further coating.
Album Cover Stories
As always, I want to thank Michael Goldstein over at www.RockPoPGallery.com for the exclusive reprint rights to his marvelous album cover art stories:
Cover Story Interview - David Bowie's "Reality", with artwork by Rex Ray
Cover Story for May 16, 2008
Subject: Reality – released September 2003 on ISO/Columbia/Sony records, with cover artwork & design by Rex Ray
One of the most-interesting (and ironic) songs found on Mr. Bowie’s 2003 release titled Reality is a track called “Never Get Old”. As someone who’s been a long-time fan, it takes on a double-meaning as it may be taken that not only does David not want to admit to aging, but neither do we as fans. I personally take it to mean that, while I may be getting old, I don’t have to either live (and relive) the past but, instead, I can use the experiences learned over time to live smarter, do better work, and improve on things as time moves forward.
I remember at one point when Bowie announced that he’d never play any of his old tunes again in public. Ziggy S. had told us once before that he’d played the last concert he’d ever play, so while I wasn’t totally convinced that he’d keep to his word, he did have me worried a bit (“what, I’ll never hear ‘Heroes’ or ‘Space Oddity’ live ever again? How can this be?”). Instead, it became clear that he simply wanted to try out new things, gain some more experiences and influences, and then come back with something that fans would find new, exciting and yet, somewhat familiar.
After waiting out the "Tin Man/Electronica” years knowing that we’d ultimately be rewarded, 2002 delivered us the “Slow Burn” of a new Bowie record – Heathen – and having reunited with long-time producer Tony Visconti, the pair again worked their magic bringing fans a modernized version of their classic “Berlin sound” and song-writing skills to 2003’s Reality. The result was well-received by both fans and critics and served as the launching pad for what was to be a 10 month long, major world tour (visiting 24 countries!) beginning in late 2003 and continuing through 2004. Sadly, it may have been age (and, more probably, some of his somewhat over-indulgent personal habits) that contributed to a sudden need for an angioplasty after an episode on stage in June 2004, and so the tour ended officially in late July (after 113 shows) so he could take care of this inconvenience. Fans that had perhaps missed the show were awarded with a DVD featuring performances from early in the tour, and the set list was notably career-spanning.
Artist Rex Ray had impressed Mr. Bowie – himself an accomplished painter and patron of the arts – with his talents in the early 1990s while he worked producing posters for Bill Graham Presents. This soon led to the two to collaborate on a myriad of fine art projects, culminating in the somewhat controversial (“what, no photo!?!”) collage Rex created for the cover of Reality. I caught up with Rex in April, 2008 and asked him to help Cover Story readers get a better understanding of the pair’s working relationship over the years and the inspirations behind the fantastic anime-inspired collage he created – was it Bowie’s music, art, or some alien force that emanated from those famous eyes? Put on your aluminum foil cap, ground yourself, and read on…
In the words of the artist, Rex Ray (interviewed April, 2008) -
In the nineties, I freelanced for Bill Graham Presents designing posters for gigs – back when it still meant something – before the Bill Graham archives were sold and opened to the public as a strip mall. While the pay was crap and the contracts crappier, I did these posters with the intention of building a strong portfolio to send around to record companies for music packaging jobs. It worked and, after a few years, I was designing projects for major labels as well as art directing and developing branding for local independent labels.
In 1995 I did a mildly controversial poster for the David Bowie/Nine Inch Nails show. I’d been a huge Bowie fan in the ‘70s and it was while gazing at the cover for Aladdin Sane in 1974 that I dreamt about doing such things myself. The DB/NIN poster was a computer-based collage of various body parts, meat and bondage gear, which upset some people at BGP but was printed after much discussion. Then, in 1997, Bowie returned to San Francisco for three nights on the Earthling tour and again, I did the poster for those shows. After they were printed, I asked the people at BGP if they could have Mr. Bowie autograph a poster for me but was told that “it wasn’t a possibility”. So, I put on my stalker cap and set about getting a poster signed on my own.
Through some friends (spys!), I heard that Bowie was in a certain bookstore one morning, so I hopped on my bicycle and raced across town. I approached him as he was leaving and asked if he’d mind signing the posters for me. He was very gracious and accommodating and complimented me on my work. We spoke for a while about books, design, and I can’t recall what else, and he went on his way. I was beyond satisfied and thought that was the end of the matter.
Unbeknownst to me, at a sound check later that afternoon, the people at BGP asked Bowie to sign a poster for me. Bowie replied, ‘I’ve already signed posters for Rex but could you arrange to have him come backstage after tonight’s show to sign posters for me.’ I arrived backstage after the show and was escorted into Bowie’s dressing room where we talked at length about art, books, what he should do while he was in town, etc., and I signed posters for him. Once again, I was satisfied and thought that was the last I'd hear from him.
About a year later I received a few curious emails asking if I’d like to collaborate on some projects, but they were signed only ‘db’. It never even occurred to me that it might be David Bowie, so I ignored them. A few days later another email arrived where he actually identified himself and I was completely stunned. The first project we collaborated on was a limited-edition print to commemorate the upcoming 30th anniversary of Ziggy Stardust. Bowie sent me a curious photo of some chattering wind-up teeth with eyeballs and I incorporated hair, background and other subtle touches as my contribution. The next project was a poster to advertise the 1998 launch of Bowienet, Bowie’s official website and Internet service (http://www.davidbowie.com/).
Initially, I’d done several more minimalist compositions based on the two previous BGP posters and then came upon the idea for the post-modern collage of assorted Bowie personae through the years for the final version. Then, in 1999 I began working on designs for Bowie’s upcoming album, ‘hours…’. I’d received a cassette of three rough unmixed songs and a small sketch by Bowie as a guide for the album’s visual direction. Bowie also suggested that I have ten different people write out the lyrics to the ten songs. Tim Brett Day provided the photography and the process of sending samples and ideas back and forth while working out the cover proceeded very smoothly. Just as we were finishing the package design, it was decided that a limited-edition lenticular (a 3-D holographic process) cover would be done for the first printing, so I provided layered Photoshop files for the company in London that would produce the image.
I’d worked with many “divas” over the years and was braced for a difficult process. Part of being a designer is navigating the collaborative process through each individual’s personality while maintaining some measure of self in the process. Sometimes those personalities can be a handful. Some projects go quite smoothly some projects are a constant negotiation, if not a downright battle. The ‘hours…’ project, however, went very smoothly. Working with Bowie’s people and the art departments at Virgin Records, we put out the designs for the album package and the singles, as well as all of the promotional P.O.P. (point of purchase) materials.
I’m my own worst critic. Ten years on and I still think the ‘hours…’ package is a bit overwrought. The first and only songs I heard while working on the project were rockers, upbeat and the previous album, Earthling, was very upbeat, so that was the visual direction I took. The finished music on the album was more subdued and I would have used a lighter hand had I known the introspective and reflective nature of the whole album. This isn’t to say I’m not proud of the finished piece. I think it holds up quite well.
After the release of ‘hours…’ I worked on various posters and material to coincide with the small tour Bowie embarked on. Design elements from the ‘hours…’ package were elaborated on for the design of Bowienet. In 2000, I designed a bonus cd that was included in the collected BBC sessions release (Bowie at the Beeb), and the first ‘collage’ Bowienet poster was resurrected in 2002 for use on the Best of Bowie greatest hits CD and DVD packages.
In 2002, Bowie sent some images as directional material for his next album, Reality. Initially, Bowie asked if I knew any illustrators who worked in an anime style who could produce a Bowie character for use on the cover. I asked if I could take a shot at it and developed the character that eventually appeared on the final package. While keeping the anime style in mind, I also used the paintings of Margaret Keane (http://www.margaretkeane.com/) as a reference and worked endlessly developing a face and hairstyle for the figure. I can’t begin to describe the enormous responsibility of coming up with a hairstyle for David Bowie. The Reality package was a collaborative project between Bowie, renowned British designer Jonathan Barnbook, and myself (Editor’s note – Barnbrook had designed the spooky-eyed cover for the Heathen record). I developed the illustrations and imagery and Barnbrook created the amazing typographical work that appeared on the final package.
When Reality was released, the fans hated the cover. While visiting assorted websites, I was able to clock people’s reaction to the cover and, generally, it wasn’t favorable. Bowie has a long history of using a photo of himself on his covers and this marked the first time that no photo appeared. From my standpoint, I love the cover and think it’s among my best. I was challenged to work in a specific style I hadn’t worked in before and I’m quite proud of the results. There’s no better surprise than surprising oneself.
As I said earlier, I remember staring at those amazing covers of Bowie’s Aladdin Sane and Diamond Dogs albums and thinking, ‘I’d like to design covers like this some day’ and, some thirty years later, that wish had come true. It was as though I’d reached my goal and I couldn’t think of anything else I wanted to do in the field of graphic design. I could also see the writing on the wall – the same writing the music industry can’t quite seem to understand. Album covers - at least the way I appreciate them - are becoming things of the past. The demands of marketing departments and the disappearance of the actual physical object of an album or CD led me to the conclusion that it was time to move on. I could have easily pursued other work in the entertainment industry, but the prospect of designing DVD boxes for reality show anthologies and spending endless hours staring at a computer no longer held any appeal for me.
I still do graphic design work for a few longtime clients and old friends, but I’d rather be painting. After that great run with Bowie, I began phasing out the graphic design work I’d been doing for so many years, not taking on any new clients or large projects and began focusing on the finer, more personal artwork that sustains me today.
However, if by some chance the phone rang tomorrow and it was Mr. Bowie asking for my design services, I’d happily hop on that old horse again...
About the artist, Rex Ray –
Rex Ray is a San Francisco based fine artist whose collages, paintings and design work have been exhibited at galleries and museums, including the The San Francisco Museum of Modern Art, University Art Museum in Berkeley, San Jose Museum of Modern Art, The Crocker Museum in Sacramento, Yerba Buena Center for the Arts in San Francisco, Michael Martin Galleries, Gallery 16, New Langton Arts, and Los Angeles Contemporary Exhibitions.
A 1988 graduate of the San Francisco Art Institue, Rex is also a celebrated graphic designer. He has created works for Apple, Dreamworks, Sony Music, Warner Brothers, City Lights Publishers, Matador Records, Serpent's Tail, The New Museum of Contemporary Art, Rizzoli, Powerhouse, Mute Records and Crown Books. His package designs for David Bowie, as well as for Joe Satriani, Diamanda Galás, Matmos, and Deee-Lite, have earned him an international reputation for his innovation in type and with original photographs, drawings, and collage. He has designed over 100 historic Bill Graham Presents rock and roll tour posters, including ones for The Rolling Stones, Patti Smith, REM, Bjork, U2, and Radiohead.
Solo Exhibitions
2006 Conduit Gallery, Dallas, Texas
2006 Michael Martin Galleries, San Francisco, CA
2005 Gallery 16, San Francisco, Ca
2005 Gensler & Associates, San Francisco, Ca
2004 Rule Gallery, Denver, CO
2003 Michael Martin Galleries, San Francisco, CA
2003 Gallery 16, San Francisco
2002 ModernBook/Gallery494, Palo Alto, Ca
2001 Michael Martin Galleries, San Francisco, CA
2000 Peterson Hall Gallery, Scottsdale, AZ
2000 Gallery 16, San Francisco
1999 Architects & Heroes, San Francisco
1998 Gallery 16, San Francisco
1996 Gallery 16, San Francisco
1994 Monster Truck Rally, Southern Exposure, San Francisco
1992 One Man Show, Hassel Haeseler Gallery Denver, Co
Selected Group Exhibitions
2005 Recent California Abstraction, Monterey Museum of Modern Art, Ca
2005 Neo Mod, Crocker Museum, Sacramento, Ca
2005 Blobjects, San Jose Museum of Modern Art 2005 Belles Letters, San Francisco Museum of Modern Art
2004 Conduit Gallery, Dallas Texas
2004 AD2004, The Lab, San Francisco
2003 Gallery 16, San Francisco
2002 Fascination: The Bowie Show, Gallery 16, San Francisco, Ca
2002 Skulls, Academy of Arts & Sciences, San Francisco, Ca
2002 Home, Rena Bransten Gallery, San Francisco, Ca
2001 I-5 Resurfacing: Four Decades of Ca. Art, San Diego Museum of Art
2001 Velocity, Seattle, WA
2001 West Coasting, Gotham, London
2000 Pierogi Traveling Exhibit, Yerba Buena Center For The Arts, San Francisco
2000 Michael Martin Gallery, London
2000 Abstraction: Raucous to Refined, Bedford Center for the Arts, Walnut Creek, CA
2000 Alone, New Langton Arts, San Francisco
1999 Bay Area Now 2, Yerba Buena Center For The Arts, San Francisco
1999 Snowflakes, Drawings at Four walls, San Francisco
1998 SAP, San Francisco
1998 Limn Gallery, San Francisco
1997 Time Zero, ESP, San Francisco
1995 Wild Side, LACE, Los Angeles
1995 In a Different Light, University Art Museum, Berkeley
1995 Piece, Nine Artists Consider Yoko Ono, Kiki, San Francisco
1995 Flagging the 21st Century, Capp Street Project, San Francisco
1994 Science Fair, Southern Exposure, San Francisco
1994 For Your Pleasure, Intersection for the Arts, San Francisco
1994 Bong Hits, Kiki, San Francisco
In April, 2008, The San Francisco Museum of Modern Art launched a Rex Ray gift line of 30+ different products, including T-shirts, coffee mugs, scarves, puzzles, and many more items. These products are exclusive to the SFMOMA, but they can be ordered online at
http://sfmoma.stores.yahoo.net/sfmomaproducts.html
Later this year, a new children's book will be published titled 10,000 Dresses, featuring a story by Marcus Ewert and illustrations by Rex Ray. It's available for pre-order on amazon.com. Also available now is the Chronicle Book Rex Ray Art + Design. Find it at fine booksellers everywhere or at amazon.com.
To find out more about Rex Ray and see examples of his latest artwork, please visit his website at www.rexray.com
To see all of the David Bowie-related items in the RockPoP Gallery collection, please visit http://rockpopgallery.com/items/david-bowie/list.htm?1=1
All images featured in this Cover Story are Copyright 2003 and 2008, Rex Ray - All rights reserved. Except as noted, all other text Copyright 2008 - Mike Goldstein & RockPoP Gallery (www.rockpopgallery.com) - All rights reserved
Cover Story Interview - David Bowie's "Reality", with artwork by Rex Ray
Cover Story for May 16, 2008
Subject: Reality – released September 2003 on ISO/Columbia/Sony records, with cover artwork & design by Rex Ray
One of the most-interesting (and ironic) songs found on Mr. Bowie’s 2003 release titled Reality is a track called “Never Get Old”. As someone who’s been a long-time fan, it takes on a double-meaning as it may be taken that not only does David not want to admit to aging, but neither do we as fans. I personally take it to mean that, while I may be getting old, I don’t have to either live (and relive) the past but, instead, I can use the experiences learned over time to live smarter, do better work, and improve on things as time moves forward.
I remember at one point when Bowie announced that he’d never play any of his old tunes again in public. Ziggy S. had told us once before that he’d played the last concert he’d ever play, so while I wasn’t totally convinced that he’d keep to his word, he did have me worried a bit (“what, I’ll never hear ‘Heroes’ or ‘Space Oddity’ live ever again? How can this be?”). Instead, it became clear that he simply wanted to try out new things, gain some more experiences and influences, and then come back with something that fans would find new, exciting and yet, somewhat familiar.
After waiting out the "Tin Man/Electronica” years knowing that we’d ultimately be rewarded, 2002 delivered us the “Slow Burn” of a new Bowie record – Heathen – and having reunited with long-time producer Tony Visconti, the pair again worked their magic bringing fans a modernized version of their classic “Berlin sound” and song-writing skills to 2003’s Reality. The result was well-received by both fans and critics and served as the launching pad for what was to be a 10 month long, major world tour (visiting 24 countries!) beginning in late 2003 and continuing through 2004. Sadly, it may have been age (and, more probably, some of his somewhat over-indulgent personal habits) that contributed to a sudden need for an angioplasty after an episode on stage in June 2004, and so the tour ended officially in late July (after 113 shows) so he could take care of this inconvenience. Fans that had perhaps missed the show were awarded with a DVD featuring performances from early in the tour, and the set list was notably career-spanning.
Artist Rex Ray had impressed Mr. Bowie – himself an accomplished painter and patron of the arts – with his talents in the early 1990s while he worked producing posters for Bill Graham Presents. This soon led to the two to collaborate on a myriad of fine art projects, culminating in the somewhat controversial (“what, no photo!?!”) collage Rex created for the cover of Reality. I caught up with Rex in April, 2008 and asked him to help Cover Story readers get a better understanding of the pair’s working relationship over the years and the inspirations behind the fantastic anime-inspired collage he created – was it Bowie’s music, art, or some alien force that emanated from those famous eyes? Put on your aluminum foil cap, ground yourself, and read on…
In the words of the artist, Rex Ray (interviewed April, 2008) -
In the nineties, I freelanced for Bill Graham Presents designing posters for gigs – back when it still meant something – before the Bill Graham archives were sold and opened to the public as a strip mall. While the pay was crap and the contracts crappier, I did these posters with the intention of building a strong portfolio to send around to record companies for music packaging jobs. It worked and, after a few years, I was designing projects for major labels as well as art directing and developing branding for local independent labels.
In 1995 I did a mildly controversial poster for the David Bowie/Nine Inch Nails show. I’d been a huge Bowie fan in the ‘70s and it was while gazing at the cover for Aladdin Sane in 1974 that I dreamt about doing such things myself. The DB/NIN poster was a computer-based collage of various body parts, meat and bondage gear, which upset some people at BGP but was printed after much discussion. Then, in 1997, Bowie returned to San Francisco for three nights on the Earthling tour and again, I did the poster for those shows. After they were printed, I asked the people at BGP if they could have Mr. Bowie autograph a poster for me but was told that “it wasn’t a possibility”. So, I put on my stalker cap and set about getting a poster signed on my own.
Through some friends (spys!), I heard that Bowie was in a certain bookstore one morning, so I hopped on my bicycle and raced across town. I approached him as he was leaving and asked if he’d mind signing the posters for me. He was very gracious and accommodating and complimented me on my work. We spoke for a while about books, design, and I can’t recall what else, and he went on his way. I was beyond satisfied and thought that was the end of the matter.
Unbeknownst to me, at a sound check later that afternoon, the people at BGP asked Bowie to sign a poster for me. Bowie replied, ‘I’ve already signed posters for Rex but could you arrange to have him come backstage after tonight’s show to sign posters for me.’ I arrived backstage after the show and was escorted into Bowie’s dressing room where we talked at length about art, books, what he should do while he was in town, etc., and I signed posters for him. Once again, I was satisfied and thought that was the last I'd hear from him.
About a year later I received a few curious emails asking if I’d like to collaborate on some projects, but they were signed only ‘db’. It never even occurred to me that it might be David Bowie, so I ignored them. A few days later another email arrived where he actually identified himself and I was completely stunned. The first project we collaborated on was a limited-edition print to commemorate the upcoming 30th anniversary of Ziggy Stardust. Bowie sent me a curious photo of some chattering wind-up teeth with eyeballs and I incorporated hair, background and other subtle touches as my contribution. The next project was a poster to advertise the 1998 launch of Bowienet, Bowie’s official website and Internet service (http://www.davidbowie.com/).
Initially, I’d done several more minimalist compositions based on the two previous BGP posters and then came upon the idea for the post-modern collage of assorted Bowie personae through the years for the final version. Then, in 1999 I began working on designs for Bowie’s upcoming album, ‘hours…’. I’d received a cassette of three rough unmixed songs and a small sketch by Bowie as a guide for the album’s visual direction. Bowie also suggested that I have ten different people write out the lyrics to the ten songs. Tim Brett Day provided the photography and the process of sending samples and ideas back and forth while working out the cover proceeded very smoothly. Just as we were finishing the package design, it was decided that a limited-edition lenticular (a 3-D holographic process) cover would be done for the first printing, so I provided layered Photoshop files for the company in London that would produce the image.
I’d worked with many “divas” over the years and was braced for a difficult process. Part of being a designer is navigating the collaborative process through each individual’s personality while maintaining some measure of self in the process. Sometimes those personalities can be a handful. Some projects go quite smoothly some projects are a constant negotiation, if not a downright battle. The ‘hours…’ project, however, went very smoothly. Working with Bowie’s people and the art departments at Virgin Records, we put out the designs for the album package and the singles, as well as all of the promotional P.O.P. (point of purchase) materials.
I’m my own worst critic. Ten years on and I still think the ‘hours…’ package is a bit overwrought. The first and only songs I heard while working on the project were rockers, upbeat and the previous album, Earthling, was very upbeat, so that was the visual direction I took. The finished music on the album was more subdued and I would have used a lighter hand had I known the introspective and reflective nature of the whole album. This isn’t to say I’m not proud of the finished piece. I think it holds up quite well.
After the release of ‘hours…’ I worked on various posters and material to coincide with the small tour Bowie embarked on. Design elements from the ‘hours…’ package were elaborated on for the design of Bowienet. In 2000, I designed a bonus cd that was included in the collected BBC sessions release (Bowie at the Beeb), and the first ‘collage’ Bowienet poster was resurrected in 2002 for use on the Best of Bowie greatest hits CD and DVD packages.
In 2002, Bowie sent some images as directional material for his next album, Reality. Initially, Bowie asked if I knew any illustrators who worked in an anime style who could produce a Bowie character for use on the cover. I asked if I could take a shot at it and developed the character that eventually appeared on the final package. While keeping the anime style in mind, I also used the paintings of Margaret Keane (http://www.margaretkeane.com/) as a reference and worked endlessly developing a face and hairstyle for the figure. I can’t begin to describe the enormous responsibility of coming up with a hairstyle for David Bowie. The Reality package was a collaborative project between Bowie, renowned British designer Jonathan Barnbook, and myself (Editor’s note – Barnbrook had designed the spooky-eyed cover for the Heathen record). I developed the illustrations and imagery and Barnbrook created the amazing typographical work that appeared on the final package.
When Reality was released, the fans hated the cover. While visiting assorted websites, I was able to clock people’s reaction to the cover and, generally, it wasn’t favorable. Bowie has a long history of using a photo of himself on his covers and this marked the first time that no photo appeared. From my standpoint, I love the cover and think it’s among my best. I was challenged to work in a specific style I hadn’t worked in before and I’m quite proud of the results. There’s no better surprise than surprising oneself.
As I said earlier, I remember staring at those amazing covers of Bowie’s Aladdin Sane and Diamond Dogs albums and thinking, ‘I’d like to design covers like this some day’ and, some thirty years later, that wish had come true. It was as though I’d reached my goal and I couldn’t think of anything else I wanted to do in the field of graphic design. I could also see the writing on the wall – the same writing the music industry can’t quite seem to understand. Album covers - at least the way I appreciate them - are becoming things of the past. The demands of marketing departments and the disappearance of the actual physical object of an album or CD led me to the conclusion that it was time to move on. I could have easily pursued other work in the entertainment industry, but the prospect of designing DVD boxes for reality show anthologies and spending endless hours staring at a computer no longer held any appeal for me.
I still do graphic design work for a few longtime clients and old friends, but I’d rather be painting. After that great run with Bowie, I began phasing out the graphic design work I’d been doing for so many years, not taking on any new clients or large projects and began focusing on the finer, more personal artwork that sustains me today.
However, if by some chance the phone rang tomorrow and it was Mr. Bowie asking for my design services, I’d happily hop on that old horse again...
About the artist, Rex Ray –
Rex Ray is a San Francisco based fine artist whose collages, paintings and design work have been exhibited at galleries and museums, including the The San Francisco Museum of Modern Art, University Art Museum in Berkeley, San Jose Museum of Modern Art, The Crocker Museum in Sacramento, Yerba Buena Center for the Arts in San Francisco, Michael Martin Galleries, Gallery 16, New Langton Arts, and Los Angeles Contemporary Exhibitions.
A 1988 graduate of the San Francisco Art Institue, Rex is also a celebrated graphic designer. He has created works for Apple, Dreamworks, Sony Music, Warner Brothers, City Lights Publishers, Matador Records, Serpent's Tail, The New Museum of Contemporary Art, Rizzoli, Powerhouse, Mute Records and Crown Books. His package designs for David Bowie, as well as for Joe Satriani, Diamanda Galás, Matmos, and Deee-Lite, have earned him an international reputation for his innovation in type and with original photographs, drawings, and collage. He has designed over 100 historic Bill Graham Presents rock and roll tour posters, including ones for The Rolling Stones, Patti Smith, REM, Bjork, U2, and Radiohead.
Solo Exhibitions
2006 Conduit Gallery, Dallas, Texas
2006 Michael Martin Galleries, San Francisco, CA
2005 Gallery 16, San Francisco, Ca
2005 Gensler & Associates, San Francisco, Ca
2004 Rule Gallery, Denver, CO
2003 Michael Martin Galleries, San Francisco, CA
2003 Gallery 16, San Francisco
2002 ModernBook/Gallery494, Palo Alto, Ca
2001 Michael Martin Galleries, San Francisco, CA
2000 Peterson Hall Gallery, Scottsdale, AZ
2000 Gallery 16, San Francisco
1999 Architects & Heroes, San Francisco
1998 Gallery 16, San Francisco
1996 Gallery 16, San Francisco
1994 Monster Truck Rally, Southern Exposure, San Francisco
1992 One Man Show, Hassel Haeseler Gallery Denver, Co
Selected Group Exhibitions
2005 Recent California Abstraction, Monterey Museum of Modern Art, Ca
2005 Neo Mod, Crocker Museum, Sacramento, Ca
2005 Blobjects, San Jose Museum of Modern Art 2005 Belles Letters, San Francisco Museum of Modern Art
2004 Conduit Gallery, Dallas Texas
2004 AD2004, The Lab, San Francisco
2003 Gallery 16, San Francisco
2002 Fascination: The Bowie Show, Gallery 16, San Francisco, Ca
2002 Skulls, Academy of Arts & Sciences, San Francisco, Ca
2002 Home, Rena Bransten Gallery, San Francisco, Ca
2001 I-5 Resurfacing: Four Decades of Ca. Art, San Diego Museum of Art
2001 Velocity, Seattle, WA
2001 West Coasting, Gotham, London
2000 Pierogi Traveling Exhibit, Yerba Buena Center For The Arts, San Francisco
2000 Michael Martin Gallery, London
2000 Abstraction: Raucous to Refined, Bedford Center for the Arts, Walnut Creek, CA
2000 Alone, New Langton Arts, San Francisco
1999 Bay Area Now 2, Yerba Buena Center For The Arts, San Francisco
1999 Snowflakes, Drawings at Four walls, San Francisco
1998 SAP, San Francisco
1998 Limn Gallery, San Francisco
1997 Time Zero, ESP, San Francisco
1995 Wild Side, LACE, Los Angeles
1995 In a Different Light, University Art Museum, Berkeley
1995 Piece, Nine Artists Consider Yoko Ono, Kiki, San Francisco
1995 Flagging the 21st Century, Capp Street Project, San Francisco
1994 Science Fair, Southern Exposure, San Francisco
1994 For Your Pleasure, Intersection for the Arts, San Francisco
1994 Bong Hits, Kiki, San Francisco
In April, 2008, The San Francisco Museum of Modern Art launched a Rex Ray gift line of 30+ different products, including T-shirts, coffee mugs, scarves, puzzles, and many more items. These products are exclusive to the SFMOMA, but they can be ordered online at
http://sfmoma.stores.yahoo.net/sfmomaproducts.html
Later this year, a new children's book will be published titled 10,000 Dresses, featuring a story by Marcus Ewert and illustrations by Rex Ray. It's available for pre-order on amazon.com. Also available now is the Chronicle Book Rex Ray Art + Design. Find it at fine booksellers everywhere or at amazon.com.
To find out more about Rex Ray and see examples of his latest artwork, please visit his website at www.rexray.com
To see all of the David Bowie-related items in the RockPoP Gallery collection, please visit http://rockpopgallery.com/items/david-bowie/list.htm?1=1
All images featured in this Cover Story are Copyright 2003 and 2008, Rex Ray - All rights reserved. Except as noted, all other text Copyright 2008 - Mike Goldstein & RockPoP Gallery (www.rockpopgallery.com) - All rights reserved
Susan Boyle Bandwagon
Susan Boyle, the contestant from Britain's Got Talent that has wowed the world with her singing voice, has a fan in Donny Osmond.
"I would die to do a duet with her. I would have her come up onstage [at his and Marie's Las Vegas Review] and I would sing to her and I'd have her sing to me."
I am officially on the Susan Boyle bandwagon, I went over to YouTube to hear what all the fuss is about, and sure enough, her talent is beyond words. I got chills listening to her sing and I would bet that she will be a singing sensation for years to come. Maybe she doesn't sing my kind of music, but I would pay to hear her voice, on any format.
"I would die to do a duet with her. I would have her come up onstage [at his and Marie's Las Vegas Review] and I would sing to her and I'd have her sing to me."
I am officially on the Susan Boyle bandwagon, I went over to YouTube to hear what all the fuss is about, and sure enough, her talent is beyond words. I got chills listening to her sing and I would bet that she will be a singing sensation for years to come. Maybe she doesn't sing my kind of music, but I would pay to hear her voice, on any format.
Music News & Notes
Are record shops worth saving?
by Donald Bell
Last Saturday, independent music retailers organized a national Record Store Day, complete with in-store freebies and exclusive releases from dozens of bands who want to see these business survive. As someone who spent two of the best years of my youth working at an independent record store, I have a nostalgic attachment to these mom-and-pop shops.
I don't know if I was motivated more by sentimentality or pity, but I felt an obligation to honor the spirit of the day and visit my local music store. The shop was ripped right out of "High Fidelity," and contained all the requisite elements for an indy music store: aloof, yet knowledgeable staff; equal ratios of vinyl and CDs; postered walls; a selection of local music; and a lazy pet cat. But nostalgia aside, I couldn't shake the reality that stores like this can't last much longer.
It's a shame, because some aspects of shopping in a record store haven't (or can't) translate into the world of online music. I'm not delusional enough to think that everyone should go back to buying CDs or LPs, but at the same time, my gut tells me that music consumers (and our culture in general) may realize all too late that there's something worth preserving about today's endangered music shops.
Read the rest of the article here: Save Record Shops
=======================================
KORPIKLAANI: New Album
KORPIKLAANI will release a new single, "Vodka", in late May via Nuclear Blast Records. Personally, I would buy the release just for the album cover art, amazing stuff. It will be made available in the following formats:
* "Vodka" (Single) - Finland only (May 27)
CDS (Finland)
01. Vodka
02. Juodaan Viinaa
* "Vodka" (Single) (May 29)
Digital Single
01. Vodka
02. Juodaan Viinaa
"Vodka" (Single) (May 29)
* 7" Picture Vinyl
Side A:
01. Vodka
Side B
01. Juodaan Viinaa
KORPIKLAANI will soon headline the Paganfest in the U.S. alongside PRIMORDIAL, MOONSORROW, BLACKGUARD and SWASHBUCKLE. The group will also perform at the Barby Club in Tel Aviv, Israel on October 16.
KORPIKLAANI's last CD, "Korven Kuningas", came out on March 21, 2008. The CD entered the album chart in the band's home country at position No. 16.
"Korven Kuningas" was released as a limited first edition with bonus tracks and on white colored vinyl. There is also a strictly limited digipak version (limited and numbered to 500 copies) which includes a drinking horn on a wall holder.
SOURCE: blabbermouth.net
=======================================
Aerosmith Classics Go Live?
Joe Perry related to VH1 Classic Radio that Aerosmith is talking about performing one of their classic albums in its entirety when the go on tour in June.
“I think Toys In The Attic would be fun. We do a lot of songs off the first four records anyway. We’ve jammed on Uncle Salty on stage a few times. I don’t know. The later records with more songs on them, they would take up too much time in the set. We need to leave some room for some of the other standards."
=======================================
Dylan, Mellencamp and Nelson Tour
Rolling Stone has reported that there had been several clues that Bob Dylan, John Mellencamp and Willie Nelson may be hitting the road to play minor league baseball parks this summer. The official announcement of the tour, which will run from July 2 through August 14, was made today with dates scheduled in parks around the U.S.
According to Dylan's website, this is only the second time in the past 24 years that these three have shared the stage. Tickets will be general admission, priced at a reasonable $67.50, with children 14 and under getting in for free with each adult ticket holder.
Some of the dates:
07/02/09 - Sauget, IL - GCS Ballpark
07/04/09 - South Bend, IN - Stanley Coveleski Stadium
07/08/09 - Louisville, KY - Louisville Slugger Field
07/10/09 - Dayton, OH - Fifth Third Field
07/11/09 - Eastlake, OH - Classic Park
07/13/09 - Washington, PA - CONSOL Energy Park
07/14/09 - Allentown, PA - Coca-Cola Park
07/15/09 - New Britain, CT - New Britain Stadium
07/19/09 - Syracuse, NY - Alliance Bank Stadium
07/21/09 - Pawtucket, RI - McCoy Stadium
07/23/09 - Lakewood, NJ - FirstEnergy Park
07/24/09 - Aberdeen, MD - Ripken Stadium
07/25/09 - Norfolk, VA - Harbor Park
07/28/09 - Durham, NC - Durham Bulls Athletic Park
07/29/09 - Knoxville, TN - Smokies Park
08/04/09 - Round Rock, TX - Dell Diamond
08/05/09 - Corpus Christi, TX - Whataburger Field
08/07/09 - Grand Prairie, TX - Quiktrip Park
08/11/09 - Glendale, AZ - Camelback Ranch
08/12/09 - Las Vegas, NV - Cashman Field Amphitheatre
08/14/09 - Fresno, CA - Chukchansi Park
by Donald Bell
Last Saturday, independent music retailers organized a national Record Store Day, complete with in-store freebies and exclusive releases from dozens of bands who want to see these business survive. As someone who spent two of the best years of my youth working at an independent record store, I have a nostalgic attachment to these mom-and-pop shops.
I don't know if I was motivated more by sentimentality or pity, but I felt an obligation to honor the spirit of the day and visit my local music store. The shop was ripped right out of "High Fidelity," and contained all the requisite elements for an indy music store: aloof, yet knowledgeable staff; equal ratios of vinyl and CDs; postered walls; a selection of local music; and a lazy pet cat. But nostalgia aside, I couldn't shake the reality that stores like this can't last much longer.
It's a shame, because some aspects of shopping in a record store haven't (or can't) translate into the world of online music. I'm not delusional enough to think that everyone should go back to buying CDs or LPs, but at the same time, my gut tells me that music consumers (and our culture in general) may realize all too late that there's something worth preserving about today's endangered music shops.
Read the rest of the article here: Save Record Shops
=======================================
KORPIKLAANI: New Album
KORPIKLAANI will release a new single, "Vodka", in late May via Nuclear Blast Records. Personally, I would buy the release just for the album cover art, amazing stuff. It will be made available in the following formats:
* "Vodka" (Single) - Finland only (May 27)
CDS (Finland)
01. Vodka
02. Juodaan Viinaa
* "Vodka" (Single) (May 29)
Digital Single
01. Vodka
02. Juodaan Viinaa
"Vodka" (Single) (May 29)
* 7" Picture Vinyl
Side A:
01. Vodka
Side B
01. Juodaan Viinaa
KORPIKLAANI will soon headline the Paganfest in the U.S. alongside PRIMORDIAL, MOONSORROW, BLACKGUARD and SWASHBUCKLE. The group will also perform at the Barby Club in Tel Aviv, Israel on October 16.
KORPIKLAANI's last CD, "Korven Kuningas", came out on March 21, 2008. The CD entered the album chart in the band's home country at position No. 16.
"Korven Kuningas" was released as a limited first edition with bonus tracks and on white colored vinyl. There is also a strictly limited digipak version (limited and numbered to 500 copies) which includes a drinking horn on a wall holder.
SOURCE: blabbermouth.net
=======================================
Aerosmith Classics Go Live?
Joe Perry related to VH1 Classic Radio that Aerosmith is talking about performing one of their classic albums in its entirety when the go on tour in June.
“I think Toys In The Attic would be fun. We do a lot of songs off the first four records anyway. We’ve jammed on Uncle Salty on stage a few times. I don’t know. The later records with more songs on them, they would take up too much time in the set. We need to leave some room for some of the other standards."
=======================================
Dylan, Mellencamp and Nelson Tour
Rolling Stone has reported that there had been several clues that Bob Dylan, John Mellencamp and Willie Nelson may be hitting the road to play minor league baseball parks this summer. The official announcement of the tour, which will run from July 2 through August 14, was made today with dates scheduled in parks around the U.S.According to Dylan's website, this is only the second time in the past 24 years that these three have shared the stage. Tickets will be general admission, priced at a reasonable $67.50, with children 14 and under getting in for free with each adult ticket holder.
Some of the dates:
07/02/09 - Sauget, IL - GCS Ballpark
07/04/09 - South Bend, IN - Stanley Coveleski Stadium
07/08/09 - Louisville, KY - Louisville Slugger Field
07/10/09 - Dayton, OH - Fifth Third Field
07/11/09 - Eastlake, OH - Classic Park
07/13/09 - Washington, PA - CONSOL Energy Park
07/14/09 - Allentown, PA - Coca-Cola Park
07/15/09 - New Britain, CT - New Britain Stadium
07/19/09 - Syracuse, NY - Alliance Bank Stadium
07/21/09 - Pawtucket, RI - McCoy Stadium
07/23/09 - Lakewood, NJ - FirstEnergy Park
07/24/09 - Aberdeen, MD - Ripken Stadium
07/25/09 - Norfolk, VA - Harbor Park
07/28/09 - Durham, NC - Durham Bulls Athletic Park
07/29/09 - Knoxville, TN - Smokies Park
08/04/09 - Round Rock, TX - Dell Diamond
08/05/09 - Corpus Christi, TX - Whataburger Field
08/07/09 - Grand Prairie, TX - Quiktrip Park
08/11/09 - Glendale, AZ - Camelback Ranch
08/12/09 - Las Vegas, NV - Cashman Field Amphitheatre
08/14/09 - Fresno, CA - Chukchansi Park
Friday, April 24, 2009
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.
ALBUM REVIEW: Laura Nyro (reissue)
New York Tendaberry
Columbia/Pure Pleasure PPAN KCS 9737 180g LP
Produced by: Laura Nyro and Roy Halee
Engineered by: Roy Halee
Mixed by: Roy Halee
Mastered by: Ray Staff
Review by: Michael Fremer
2009-04-01
Laura Nyro’s most personal, mature and intense album of love’s struggles proved to be the stopping point for many fans of the earlier gospel-y good time Nyro who sung “Stoned Soul Picnic,” “Eli’s Comin’,” “Wedding Bell Blues,” “Stoney End,” and even “And When I Die,” which was celebratory despite the song’s morbid title.
While New York Tendaberry includes a healthy dose of Nyro’s uptempo gospel-piano stomp on songs like “Save the Country,” the album’s two openers “You Don’t Love Me When I Cry” and “Captain For Dark Mornings” are intensely personal confessionals that along with much of side two, preclude Joni Mitchell’s Blue by a few years.
The echoey, distant production produces an unusual sonic and tonal perspective, but knowing Roy Halee, who co-produced with Nyro and engineered it was not accidental. Nyro and piano are bathed in a controlled reverberant field occupying a small, distant but well focused field.
Nyro anchors the instrumental backdrop on piano with other instruments, especially treated horns similar to what Halee got for The Byrds on Notorious Byrd Brothers.
Most of the other instruments are presented in the same distant reverberant haze, which causes a midrange glare and overload if you play this record too loud.
It’s meant to be played at a relatively low level, probably to increase both the intimacy and the isolation. Then the purity shines through and the dynamic musical accents orchestrated by Jimmie Haskell (incorrectly spelled “Jimmy” on the jacket) jump without hesitation out of the mix.
As you might imagine, few buyers of this record in 1969 got to hear it as intended in the studio, considering the cheap record players of the time and the so-so quality of the vinyl by 1969.
This reissue betters the original in terms of clarity, dynamics, extension and especially background quiet. The Pallas pressing is dead silent.
If you don’t know this record or the late Laura Nyro’s music and you’re a Joni Mitchell Blue fan, this one’s for you, though don't ask me what a "Tendaberry" is.
SOURCE: http://www.musicangle.com Reprinted By Permission
Pick up Michael's DVD's Here:
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.
ALBUM REVIEW: Laura Nyro (reissue)
New York Tendaberry
Columbia/Pure Pleasure PPAN KCS 9737 180g LP
Produced by: Laura Nyro and Roy Halee
Engineered by: Roy Halee
Mixed by: Roy Halee
Mastered by: Ray Staff
Review by: Michael Fremer
2009-04-01
Laura Nyro’s most personal, mature and intense album of love’s struggles proved to be the stopping point for many fans of the earlier gospel-y good time Nyro who sung “Stoned Soul Picnic,” “Eli’s Comin’,” “Wedding Bell Blues,” “Stoney End,” and even “And When I Die,” which was celebratory despite the song’s morbid title.
While New York Tendaberry includes a healthy dose of Nyro’s uptempo gospel-piano stomp on songs like “Save the Country,” the album’s two openers “You Don’t Love Me When I Cry” and “Captain For Dark Mornings” are intensely personal confessionals that along with much of side two, preclude Joni Mitchell’s Blue by a few years.
The echoey, distant production produces an unusual sonic and tonal perspective, but knowing Roy Halee, who co-produced with Nyro and engineered it was not accidental. Nyro and piano are bathed in a controlled reverberant field occupying a small, distant but well focused field.
Nyro anchors the instrumental backdrop on piano with other instruments, especially treated horns similar to what Halee got for The Byrds on Notorious Byrd Brothers.
Most of the other instruments are presented in the same distant reverberant haze, which causes a midrange glare and overload if you play this record too loud.
It’s meant to be played at a relatively low level, probably to increase both the intimacy and the isolation. Then the purity shines through and the dynamic musical accents orchestrated by Jimmie Haskell (incorrectly spelled “Jimmy” on the jacket) jump without hesitation out of the mix.
As you might imagine, few buyers of this record in 1969 got to hear it as intended in the studio, considering the cheap record players of the time and the so-so quality of the vinyl by 1969.
This reissue betters the original in terms of clarity, dynamics, extension and especially background quiet. The Pallas pressing is dead silent.
If you don’t know this record or the late Laura Nyro’s music and you’re a Joni Mitchell Blue fan, this one’s for you, though don't ask me what a "Tendaberry" is.
SOURCE: http://www.musicangle.com Reprinted By Permission
Pick up Michael's DVD's Here:
Music News & Notes
Two classic Ringo albums available on vinyl soon
Capitol Records is currently reissuing a lot of their classic albums. Two more Beatle related albums are going to be released shortly.
This has to be one of the greatest Beatle solo albums released next to "Imagine," "Band on The Run," and "All Things Must Pass." This album had many hits for Ringo including "Photograph," "You're 16," and "Oh My My." The LP also included the closest thing to a Beatle reunion till Anthology was released. On the song "I'm The Greatest" written by John Lennon, and performed by Ringo Starr, John Lennon, and George Harrison with Klaus Voorman on Bass. This album certainly deserves a nice reissue on vinyl for 2009.
Sentimental Journey - Ringo Starr (Apple Records) - This is one of the first big band type covers album performed by a Pop Rock artist. Many artists like Natalie Cole have had much success with this formula. Ringo was kinda groundbreaking with this release produced by Quincy Jones, Barry Gibb, and Paul McCartney.
Both releases are listed at www.cduniverse.com as available now for preorder, but release date "not determined". From their home page, search for artist "Ringo Starr" and then look under vinyl releases and then click on "Vinyl LP".
=================================
Franz Ferdinand To Release A Second Record This Year
Glasgow’s Franz Ferdinand will be releasing Blood — a dub version of their recently released third album Tonight: Franz Ferdinand — June 1 on Domino Records.
The album was mixed by Dan Carey, who mixed Tonight as well. Originally Blood was featured as part of the box set and double disc versions of Tonight, but the new version will include an extra song, “Be Afraid”, and a new version of “Dream Again”. Blood is being released in conjunction with this past weekend’s Record Store Day, and the group is planning to release 500 limited edition vinyl versions of the record exclusively to select independent record stores.
=================================
Jeff Lynne Solo Effort
According to a Reuters story, Jeff Lynne's first official solo album since 1990s "Armchair Theater" is scheduled for release sometime in the fall (he also recorded the ELO album Zoom in 2001 which was essentially a solo work). He also recently produced five tracks for Regina Spektor and has plans to work with Joe Walsh.
=================================
Morrison DVD Set For Release
Van Morrison will release the DVD, "Astral Weeks: Live at the Hollywood Bowl," on May 19 exclusively through Amazon. The DVD also "features special bonus songs," including a live version of "Gloria," and unprecedented behind-the-scenes footage as well as a candid conversation with the artist himself talking about the meaning behind Astral Weeks, his decision to revisit the pivotal project, and his impressions of the music business.
Capitol Records is currently reissuing a lot of their classic albums. Two more Beatle related albums are going to be released shortly.
This has to be one of the greatest Beatle solo albums released next to "Imagine," "Band on The Run," and "All Things Must Pass." This album had many hits for Ringo including "Photograph," "You're 16," and "Oh My My." The LP also included the closest thing to a Beatle reunion till Anthology was released. On the song "I'm The Greatest" written by John Lennon, and performed by Ringo Starr, John Lennon, and George Harrison with Klaus Voorman on Bass. This album certainly deserves a nice reissue on vinyl for 2009.
Sentimental Journey - Ringo Starr (Apple Records) - This is one of the first big band type covers album performed by a Pop Rock artist. Many artists like Natalie Cole have had much success with this formula. Ringo was kinda groundbreaking with this release produced by Quincy Jones, Barry Gibb, and Paul McCartney.
Both releases are listed at www.cduniverse.com as available now for preorder, but release date "not determined". From their home page, search for artist "Ringo Starr" and then look under vinyl releases and then click on "Vinyl LP".
=================================
Franz Ferdinand To Release A Second Record This Year
Glasgow’s Franz Ferdinand will be releasing Blood — a dub version of their recently released third album Tonight: Franz Ferdinand — June 1 on Domino Records.
The album was mixed by Dan Carey, who mixed Tonight as well. Originally Blood was featured as part of the box set and double disc versions of Tonight, but the new version will include an extra song, “Be Afraid”, and a new version of “Dream Again”. Blood is being released in conjunction with this past weekend’s Record Store Day, and the group is planning to release 500 limited edition vinyl versions of the record exclusively to select independent record stores.
=================================
Jeff Lynne Solo Effort
According to a Reuters story, Jeff Lynne's first official solo album since 1990s "Armchair Theater" is scheduled for release sometime in the fall (he also recorded the ELO album Zoom in 2001 which was essentially a solo work). He also recently produced five tracks for Regina Spektor and has plans to work with Joe Walsh.
=================================
Morrison DVD Set For Release
Van Morrison will release the DVD, "Astral Weeks: Live at the Hollywood Bowl," on May 19 exclusively through Amazon. The DVD also "features special bonus songs," including a live version of "Gloria," and unprecedented behind-the-scenes footage as well as a candid conversation with the artist himself talking about the meaning behind Astral Weeks, his decision to revisit the pivotal project, and his impressions of the music business.
Thursday, April 23, 2009
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.
There are 15 reviews, we will explore them 3 at a time, look for another set on Sunday!
Vinyl Feature for April
Reviews of 15 Jazz, Blues & Pop Audiophile LPs
Diana Krall – Live in Paris – Verve Records/Original Recordings ORG 003 – 180 gram Audiophile LP edition – 2 LPs, (2001-2002) ****:
(Diana Krall, piano, vocals; Anthony Wilson, electric guitar; John Pisano, acoustic guitar; John Clayton, bass; Jeff Hamilton, drums; with specials guests, Paulinho Da Costa, percussion; Michael Brecker, tenor sax; Christian McBride, bass; Rob Mounsey, keyboards; Luis Quintero, percussion; Lewis Nash, drums; Alan Broadbent, music director and conductor, on Let’s Fall in Love, and I’ve Got You Under My Skin)
One of Diana Krall’s most beloved CDs, Live in Paris, has been given a loving audiophile LP remastering treatment by ace engineer legend, Bernie Grundman and produced by an audiophile label new to us, Original Recordings. The shimmering string arrangements on Let’s Fall in Love and I’ve Got You Under My Skin, are testament alone to the real life power of vinyl to convince the legions of Krall lovers to shell out the premium price that audiophile vinyl commands. Krall’s smoky vocals and piano skills are given a new sheen, as are the guitars of Anthony Wilson and John Pisano. John Clayton’s woody pizzicato fingerings are brought center stage during his solos and Clayton’s co-leader in the Clayton Hamilton Jazz Orchestra; Jeff Hamilton’s cymbal mastery is evident.
Krall has always surrounded herself with the crème de la crème in accompanists when she tours, and her 2001-2002 band mates were no exception. Diana is numero uno in the lighter fare jazz female vocal category both for her sexy smooth vocal delivery, the knockout beauty of her appearance, her more than adequate piano skills, and her choice of repertoire- Arlen, Porter, Gershwin, etc.
Krall will draw a jazz date audience, who view her performances as part of a sublime classy evening. I have observed her as headliner on numerous occasions both amongst the jazz savvy audiences at the Monterey Jazz Festival as well as at nightclubs where she commands a hearty cover charge. Her fans are loyal and Krall rewards them with top-notch arrangements and a seasoned bassist and drummer.
Live in Paris stands out in her discography as it presents Krall with the best sidemen she has had; two tracks with Alan Broadbent leading a European orchestra; Paulinho Da Costa on percussion, and the bonus of the closing track, Billy Joel’s Just the Way You Are, where the late saxist Michael Brecker and Christian McBride and Lewis Nash make up her rhythm section.
Ms. Krall has induced casual pop fans to put their toes into the jazz market, much like later day Tony Bennett performances have brought both old time jazz fans and the younger crowd to share the joy that a fine vocalist can elicit. For that, we have Diana Krall to thank.
Produced by the talented Tommy LiPuma, and recorded and mixed for CD by the brilliant Al Schmitt, the sonics of the CD issue were excellent. Bernie Grundman’s remastering for vinyl puts Live in Paris in the gold plated category for the legions of Krall aficionados. This two-LP audiophile edition would make an ideal late night listening experience, or the perfect background soundtrack for a special dinner party. [But bear in mind you'll be getting up very frequently to change sides...Ed.]
TrackList:
LP 1:
Side A:
I Love Being Here for You
Let’s Fall in Love
‘Deed I Do
Side B:
The Look of Love
East of the Sun (and West of the Moon)
I’ve Got You Under My Skin
LP 2:
Side A:
Devil May Care
Maybe You’ll Be There
‘S Wonderful
Side B:
Fly Me to the Moon
A Case of You
Just the Way You Are
==============================================
Georgie Fame – Cool Cat Blues – Go Jazz Records - Pure Pleasure Records PPAN 009 (1991) – 2 LPs 180 gram Audiophile edition ****:
(Georgie Fame, piano, organ, vocals; Richard Tee, piano; Robben Ford, guitar; Will Lee, bass; Steve Gadd, drums; Ralph MacDonald, percussion. Special guests include Van Morrison, Ronnie Cuber, Bob Malach, Ben Sidran, Jon Hendricks, Boz Scaggs, and Michael Weiss)
Georgie Fame has always been a cool cat. His blend of American rhythm and blues and jazz has appealed to a cross section of musicians who have good taste in common. From ultra-hip vocalists Van Morrison, Boz Scaggs, and Ben Sidran to jazz musicians such as Ronnie Cuber, and Jon Hendricks, Georgie Fame has provided vocalese accompaniment and Hammond B-3 or piano duties.
Fame is best known for the dual fame brought on by his British band The Flames, as well as for being the musical director and right-hand man for Van Morrison from 1989 throughout most of the 90s. For Morrison, Fame provided a compatriot for Van’s mix of white soul, blues and jazz idioms. For many years, when you heard a Morrison CD, you’d expect to hear Georgie provide co-leader duties, whether it was leading Van’s band or providing background and lead vocal counterpoint to Morrison’s forays into his latest bag of tricks. Fame had the hip quotient to enter Van’s inner circle.
Fame’s ability to not be pigeonholed has enabled him to tackle blues with London’s best when he was only 17. After a series of Top Ten hits in Britain, Georgie explored his interest in jazz with the Harry South Big Band and even toured Europe as the featured vocalist with a late edition of Count Basie’s touring band. He later co-starred on British television with musician, Alan Price, and they recorded together as well.
The 70s and 80s were devoted to jazz and his acceptance in the jazz community was cemented when Blossom Dearie wrote “Sweet Georgie Fame” as a dedication. The later portion of the 80s and much of the 90s were devoted to his Van Morrison phase.
Pure Pleasure, the audiophile LP label out of Great Britain, has done the public a service by remastering Fame’s 1991 Go Jazz release onto 180-gram vinyl. It is apropo as it highlights Fame’s greatest strengths - blues and jazz. The strongest influence I felt listening to this vinyl treasure is Fame’s vocal resemblance to Mose Allison. Mose crossed the blues/jazz frontier as well with hipster élan. Fame’s vocals on Cool Cat Blues cover the gamut from Georgia, It Should Have Been Me, I Love the Life I Live, to Rocking Chair. Supported by top grade accompanists such as the underrated, Robben Ford on guitar, drummer, Steve Gadd, and percussionist, Ralph MacDonald, Fame shows he was a do it all virtuoso. Georgie has the opportunity to trade vocal hip licks with Boz Scaggs on It Should Have Been Me. His vocalese “cred” passes muster with the scat legend, Jon Hendricks, on Morrison’s classic Moondance. For Morrison fans, it provides a chance to appreciate the vocal prowess that Van so early recognized. Produced by Ben Sidran - no stranger to hip vocals - Pure Pleasure’s remastering is up to their usual high standards. I’ve yet to be disappointed by Pure Pleasure’s taste and choice of material to be given audiophile treatment. Check out Cool Cat Blues to appreciate the many sides of Georgie Fame.
TrackList:
Side A:
Cool Cat Blues
Every Knock is a Boost
Moondance
Side B:
It Should Have Been Me
Yeah Yeah
I Love the Life I Live
Side C:
Big Brother
Georgia
Cat’s Eyes
Side D:
You Came a Long Way From St. Louis
Survival
Little Pony
Rocking Chair
==============================================
Booker Little Out Front Candid/Pure Pleasure Records 8027 (1961) ****:
(Booker Little, trumpet; Eric Dolphy, alto, bass clarinet, flute; Julian Priester, Trombone; Art Davis, Ron Carter, bass; Don Friedman, piano; Max Roach, drums)
Booker Little was heralded to be the next trumpet great after the death of the incomparable Clifford Brown. But it was not to be. Like Clifford, Booker Little did not make it to his 30th birthday. He died at age 23 of uremia, another tragic death to the jazz community. Booker had only five recordings as a leader, and Pure Pleasure records has chosen to rerelease his Spring, 1961 session recorded for Candid Records in a pristine 180 gram audiophile quality pressing. The British audiophile company claims that their European pressing plant is the best in Europe. I do not know if that claim is true but surely this pressing is audiophile quality. Little’s trumpet is clear, bright and luminous.
Booker wrote all seven compositions and they eclipse the bebop and hard bop of the early 60s in challenging the listener. Much of the searching quality that Little brings to this recording is the result of multi-instrumentalist, Eric Dolphy, another genius who left us much too soon. Drummer Max Roach, whose tutelage brought us both Clifford and Booker, drives the band with his percussive drumming. Don Friedman, an unappreciated pianist, who has had a long career, is featured on piano. Present Seattle resident, Julian Priester, a Roach band member of this period, rounds out the front line. Bass duties are shared by both Ron Carter and Art Davis, who both still are major forces on the bass.
Highlights of Out Front include Strength and Sanity, the free form Moods in Free Time, a precursor to both avant and modal genres that became more prevalent later in the 60s, and A New Day, in which the trombone and flute play in counterpoint to Little’s trumpet, and in which Roach has a magnificent percussion chorus.
Out Front fits the bill for audiophile LP fans as it chronicles the genius of Booker Little and Eric Dolphy in pristine sound. It is well worth the $25-30 price tag.
TrackList: We Speak, Strength and Sanity, Quiet Please, Moods in Free Time, Man of Words, Hazy Hues, A New Day
Look for 3 more reviews this Sunday!
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.
There are 15 reviews, we will explore them 3 at a time, look for another set on Sunday!
Vinyl Feature for April
Reviews of 15 Jazz, Blues & Pop Audiophile LPs
Diana Krall – Live in Paris – Verve Records/Original Recordings ORG 003 – 180 gram Audiophile LP edition – 2 LPs, (2001-2002) ****:(Diana Krall, piano, vocals; Anthony Wilson, electric guitar; John Pisano, acoustic guitar; John Clayton, bass; Jeff Hamilton, drums; with specials guests, Paulinho Da Costa, percussion; Michael Brecker, tenor sax; Christian McBride, bass; Rob Mounsey, keyboards; Luis Quintero, percussion; Lewis Nash, drums; Alan Broadbent, music director and conductor, on Let’s Fall in Love, and I’ve Got You Under My Skin)
One of Diana Krall’s most beloved CDs, Live in Paris, has been given a loving audiophile LP remastering treatment by ace engineer legend, Bernie Grundman and produced by an audiophile label new to us, Original Recordings. The shimmering string arrangements on Let’s Fall in Love and I’ve Got You Under My Skin, are testament alone to the real life power of vinyl to convince the legions of Krall lovers to shell out the premium price that audiophile vinyl commands. Krall’s smoky vocals and piano skills are given a new sheen, as are the guitars of Anthony Wilson and John Pisano. John Clayton’s woody pizzicato fingerings are brought center stage during his solos and Clayton’s co-leader in the Clayton Hamilton Jazz Orchestra; Jeff Hamilton’s cymbal mastery is evident.
Krall has always surrounded herself with the crème de la crème in accompanists when she tours, and her 2001-2002 band mates were no exception. Diana is numero uno in the lighter fare jazz female vocal category both for her sexy smooth vocal delivery, the knockout beauty of her appearance, her more than adequate piano skills, and her choice of repertoire- Arlen, Porter, Gershwin, etc.
Krall will draw a jazz date audience, who view her performances as part of a sublime classy evening. I have observed her as headliner on numerous occasions both amongst the jazz savvy audiences at the Monterey Jazz Festival as well as at nightclubs where she commands a hearty cover charge. Her fans are loyal and Krall rewards them with top-notch arrangements and a seasoned bassist and drummer.
Live in Paris stands out in her discography as it presents Krall with the best sidemen she has had; two tracks with Alan Broadbent leading a European orchestra; Paulinho Da Costa on percussion, and the bonus of the closing track, Billy Joel’s Just the Way You Are, where the late saxist Michael Brecker and Christian McBride and Lewis Nash make up her rhythm section.
Ms. Krall has induced casual pop fans to put their toes into the jazz market, much like later day Tony Bennett performances have brought both old time jazz fans and the younger crowd to share the joy that a fine vocalist can elicit. For that, we have Diana Krall to thank.
Produced by the talented Tommy LiPuma, and recorded and mixed for CD by the brilliant Al Schmitt, the sonics of the CD issue were excellent. Bernie Grundman’s remastering for vinyl puts Live in Paris in the gold plated category for the legions of Krall aficionados. This two-LP audiophile edition would make an ideal late night listening experience, or the perfect background soundtrack for a special dinner party. [But bear in mind you'll be getting up very frequently to change sides...Ed.]
TrackList:
LP 1:
Side A:
I Love Being Here for You
Let’s Fall in Love
‘Deed I Do
Side B:
The Look of Love
East of the Sun (and West of the Moon)
I’ve Got You Under My Skin
LP 2:
Side A:
Devil May Care
Maybe You’ll Be There
‘S Wonderful
Side B:
Fly Me to the Moon
A Case of You
Just the Way You Are
==============================================
Georgie Fame – Cool Cat Blues – Go Jazz Records - Pure Pleasure Records PPAN 009 (1991) – 2 LPs 180 gram Audiophile edition ****:
(Georgie Fame, piano, organ, vocals; Richard Tee, piano; Robben Ford, guitar; Will Lee, bass; Steve Gadd, drums; Ralph MacDonald, percussion. Special guests include Van Morrison, Ronnie Cuber, Bob Malach, Ben Sidran, Jon Hendricks, Boz Scaggs, and Michael Weiss)
Georgie Fame has always been a cool cat. His blend of American rhythm and blues and jazz has appealed to a cross section of musicians who have good taste in common. From ultra-hip vocalists Van Morrison, Boz Scaggs, and Ben Sidran to jazz musicians such as Ronnie Cuber, and Jon Hendricks, Georgie Fame has provided vocalese accompaniment and Hammond B-3 or piano duties.
Fame is best known for the dual fame brought on by his British band The Flames, as well as for being the musical director and right-hand man for Van Morrison from 1989 throughout most of the 90s. For Morrison, Fame provided a compatriot for Van’s mix of white soul, blues and jazz idioms. For many years, when you heard a Morrison CD, you’d expect to hear Georgie provide co-leader duties, whether it was leading Van’s band or providing background and lead vocal counterpoint to Morrison’s forays into his latest bag of tricks. Fame had the hip quotient to enter Van’s inner circle.
Fame’s ability to not be pigeonholed has enabled him to tackle blues with London’s best when he was only 17. After a series of Top Ten hits in Britain, Georgie explored his interest in jazz with the Harry South Big Band and even toured Europe as the featured vocalist with a late edition of Count Basie’s touring band. He later co-starred on British television with musician, Alan Price, and they recorded together as well.
The 70s and 80s were devoted to jazz and his acceptance in the jazz community was cemented when Blossom Dearie wrote “Sweet Georgie Fame” as a dedication. The later portion of the 80s and much of the 90s were devoted to his Van Morrison phase.
Pure Pleasure, the audiophile LP label out of Great Britain, has done the public a service by remastering Fame’s 1991 Go Jazz release onto 180-gram vinyl. It is apropo as it highlights Fame’s greatest strengths - blues and jazz. The strongest influence I felt listening to this vinyl treasure is Fame’s vocal resemblance to Mose Allison. Mose crossed the blues/jazz frontier as well with hipster élan. Fame’s vocals on Cool Cat Blues cover the gamut from Georgia, It Should Have Been Me, I Love the Life I Live, to Rocking Chair. Supported by top grade accompanists such as the underrated, Robben Ford on guitar, drummer, Steve Gadd, and percussionist, Ralph MacDonald, Fame shows he was a do it all virtuoso. Georgie has the opportunity to trade vocal hip licks with Boz Scaggs on It Should Have Been Me. His vocalese “cred” passes muster with the scat legend, Jon Hendricks, on Morrison’s classic Moondance. For Morrison fans, it provides a chance to appreciate the vocal prowess that Van so early recognized. Produced by Ben Sidran - no stranger to hip vocals - Pure Pleasure’s remastering is up to their usual high standards. I’ve yet to be disappointed by Pure Pleasure’s taste and choice of material to be given audiophile treatment. Check out Cool Cat Blues to appreciate the many sides of Georgie Fame.
TrackList:
Side A:
Cool Cat Blues
Every Knock is a Boost
Moondance
Side B:
It Should Have Been Me
Yeah Yeah
I Love the Life I Live
Side C:
Big Brother
Georgia
Cat’s Eyes
Side D:
You Came a Long Way From St. Louis
Survival
Little Pony
Rocking Chair
==============================================
Booker Little Out Front Candid/Pure Pleasure Records 8027 (1961) ****:
(Booker Little, trumpet; Eric Dolphy, alto, bass clarinet, flute; Julian Priester, Trombone; Art Davis, Ron Carter, bass; Don Friedman, piano; Max Roach, drums)
Booker Little was heralded to be the next trumpet great after the death of the incomparable Clifford Brown. But it was not to be. Like Clifford, Booker Little did not make it to his 30th birthday. He died at age 23 of uremia, another tragic death to the jazz community. Booker had only five recordings as a leader, and Pure Pleasure records has chosen to rerelease his Spring, 1961 session recorded for Candid Records in a pristine 180 gram audiophile quality pressing. The British audiophile company claims that their European pressing plant is the best in Europe. I do not know if that claim is true but surely this pressing is audiophile quality. Little’s trumpet is clear, bright and luminous.
Booker wrote all seven compositions and they eclipse the bebop and hard bop of the early 60s in challenging the listener. Much of the searching quality that Little brings to this recording is the result of multi-instrumentalist, Eric Dolphy, another genius who left us much too soon. Drummer Max Roach, whose tutelage brought us both Clifford and Booker, drives the band with his percussive drumming. Don Friedman, an unappreciated pianist, who has had a long career, is featured on piano. Present Seattle resident, Julian Priester, a Roach band member of this period, rounds out the front line. Bass duties are shared by both Ron Carter and Art Davis, who both still are major forces on the bass.
Highlights of Out Front include Strength and Sanity, the free form Moods in Free Time, a precursor to both avant and modal genres that became more prevalent later in the 60s, and A New Day, in which the trombone and flute play in counterpoint to Little’s trumpet, and in which Roach has a magnificent percussion chorus.
Out Front fits the bill for audiophile LP fans as it chronicles the genius of Booker Little and Eric Dolphy in pristine sound. It is well worth the $25-30 price tag.
TrackList: We Speak, Strength and Sanity, Quiet Please, Moods in Free Time, Man of Words, Hazy Hues, A New Day
Look for 3 more reviews this Sunday!
Music News & Notes
Stevie & Joe
In an upcoming People magazine feature, Stevie Nicks talked about her romance in the 80's with Joe Walsh, calling him "the great, great love of my life."
She also states that they had to part ways because of their co-dependance on cocaine.
"There was nothing more important than Joe Walsh - not my music, not my songs, not anything. We had to break up or we thought we'd die. It took me years to get over it. It's very sad by at least we survived."
===================================
Bob Marley Places Nine Songs in Jamaica's 100 Best Song List
The University of the West Indies has announced the results of their recent survey into the 100 best songs from Jamaica over the last fifty years. The ranking was based on a survey of Jamaican notables from public and university life along with musicians and a select number of the public.
To no one's surprise, Jamaican icon Bob Marley took nine of the top 100, including #1"One Love" and #9 with the cut "Simmer Down." The entire top twenty is made up of veteran artists and two of the songs ("My Boy Lollipop" by Millie Small and "Israelites" by Desmond Dekker & the Aces) were major U.S. hits.
According to a Reuters article, the reaction to the list, announced yesterday, has been mixed. University spokesman Wayne Chen stated:
"People have said to me that they wanted more of the deejay and dancehall songs included, but like in everything else, you can't please everybody. I would have loved to see some more dub music, because I am a fan of dub, but that did not happen."
Here is the top 20:
1) One Love/People Get Ready - Bob Marley & the Wailers (726 points)
2) Oh Carolina - Folkes Brothers (540)
3) 54-46 - Maytals (516)
4) Got to Go Back Home - Bob Andy (493)
5) My Boy Lollipop - Millie Small (470)
6) Many Rivers to Cross - Jimmy Cliff (451)
7) Israelites - Desmond Dekker & the Aces (424)
8) Cherry Oh Baby - Eric Donaldson (367)
9) Simmer Down - Wailers (357)
10) Carry Go Bring Come - Justin Hands & the Dominoes (331)
11) The Harder They Come - Jimmy Cliff (316)
12) No Woman No Cry - Bob Marley & the Wailers (305)
13) Rivers of Babylon - Melodians (298)
14) Redemption Song - Bob Marley & the Wailers (289)
15) Easy Snappin' - Theophilus Beckford (281)
16) Girl I've Got a Date - Alton Ellis (261)
17) Satta Massagana - Abyssnians (253)
18) Everything I Own - Ken Boothe (249)
19) Eastern Standard Time - Don Drummond (246)
20) Wear You to the Ball - U-Roy (236)
One of my favorites- "Redemption Song" cracked the top 20, coming in at #14.
Check out my friend Daniel's Vinyl Art:
===================================
Record Store Day Boosts Indie Stores' Sales
Ed Christman, N.Y.
It's being reported Record Store Day produced a nearly 1% gain - to 566,000 for the week versus 561,000 from the corresponding week of the prior year - in U.S. album sales for the indie store sector, according to Nielsen SoundScan. While that may seem meager, it comes off as strong considering that U.S. album sales were down 15% last week to 6.3 million from 7.5 million in the corresponding week for the prior year.
"Any sales increase nowadays is a big victory," says one distribution executive. "Record Store Day was a big success."
Beyond album sales, Record Store Day is being felt in other places in SoundScan. For instance, 80,000 vinyl albums were scanned last year, versus 40,000 in the same week of the prior year, while 46,000 singles were counted last week versus 33,000 in the same week last year.
Read the rest of the article here: billboard story
In an upcoming People magazine feature, Stevie Nicks talked about her romance in the 80's with Joe Walsh, calling him "the great, great love of my life."
She also states that they had to part ways because of their co-dependance on cocaine.
"There was nothing more important than Joe Walsh - not my music, not my songs, not anything. We had to break up or we thought we'd die. It took me years to get over it. It's very sad by at least we survived."
===================================
Bob Marley Places Nine Songs in Jamaica's 100 Best Song List
The University of the West Indies has announced the results of their recent survey into the 100 best songs from Jamaica over the last fifty years. The ranking was based on a survey of Jamaican notables from public and university life along with musicians and a select number of the public.
To no one's surprise, Jamaican icon Bob Marley took nine of the top 100, including #1"One Love" and #9 with the cut "Simmer Down." The entire top twenty is made up of veteran artists and two of the songs ("My Boy Lollipop" by Millie Small and "Israelites" by Desmond Dekker & the Aces) were major U.S. hits.
According to a Reuters article, the reaction to the list, announced yesterday, has been mixed. University spokesman Wayne Chen stated:
"People have said to me that they wanted more of the deejay and dancehall songs included, but like in everything else, you can't please everybody. I would have loved to see some more dub music, because I am a fan of dub, but that did not happen."
Here is the top 20:
1) One Love/People Get Ready - Bob Marley & the Wailers (726 points)
2) Oh Carolina - Folkes Brothers (540)
3) 54-46 - Maytals (516)
4) Got to Go Back Home - Bob Andy (493)
5) My Boy Lollipop - Millie Small (470)
6) Many Rivers to Cross - Jimmy Cliff (451)
7) Israelites - Desmond Dekker & the Aces (424)
8) Cherry Oh Baby - Eric Donaldson (367)
9) Simmer Down - Wailers (357)
10) Carry Go Bring Come - Justin Hands & the Dominoes (331)
11) The Harder They Come - Jimmy Cliff (316)
12) No Woman No Cry - Bob Marley & the Wailers (305)
13) Rivers of Babylon - Melodians (298)
14) Redemption Song - Bob Marley & the Wailers (289)
15) Easy Snappin' - Theophilus Beckford (281)
16) Girl I've Got a Date - Alton Ellis (261)
17) Satta Massagana - Abyssnians (253)
18) Everything I Own - Ken Boothe (249)
19) Eastern Standard Time - Don Drummond (246)
20) Wear You to the Ball - U-Roy (236)
One of my favorites- "Redemption Song" cracked the top 20, coming in at #14.
Check out my friend Daniel's Vinyl Art:
===================================
Record Store Day Boosts Indie Stores' Sales
Ed Christman, N.Y.
It's being reported Record Store Day produced a nearly 1% gain - to 566,000 for the week versus 561,000 from the corresponding week of the prior year - in U.S. album sales for the indie store sector, according to Nielsen SoundScan. While that may seem meager, it comes off as strong considering that U.S. album sales were down 15% last week to 6.3 million from 7.5 million in the corresponding week for the prior year."Any sales increase nowadays is a big victory," says one distribution executive. "Record Store Day was a big success."
Beyond album sales, Record Store Day is being felt in other places in SoundScan. For instance, 80,000 vinyl albums were scanned last year, versus 40,000 in the same week of the prior year, while 46,000 singles were counted last week versus 33,000 in the same week last year.
Read the rest of the article here: billboard story
Wednesday, April 22, 2009
Mr. Music
I am continuing our new feature: Ask "Mr. Music." Now in its 23rd year of syndication (1986-2008), Jerry Osborne's weekly Q&A feature will be a regular post every Wednesday from now on. Be sure to stop by Jerry's site (www.jerryosborne.com) for more Mr. Music archives, record price guides, anything Elvis, buy & sell collectibles, record appraisals and much more. I thank Jerry for allowing the reprints.
FOR THE WEEK OF APRIL 13, 2009
DEAR JERRY: Going online makes it possible to find answers to trillions of questions, yet little ol' me can't seem to solve one musical mystery.
There are many listings of Top 10 hits, breaking things down several different ways, such as who has the most Top 10 hits; which ones remained there the longest, etc., etc.
But nowhere can I find mention of which stars had the most consecutive Top 10 Pop hits, specifically the first three decades of the Rock Era.
Can you dig up quirky details like this?
—Melanie Boyd, Harbor City, Calif.
DEAR MELANIE: Since most details we unearth are quirky to some extent, your query fits right in.
During those 29 years (1950-1979) there are nine artists with at least 10 consecutive Top 10 hits to their credit, according to either Billboard or Cash Box. To qualify, their first Top 10 entry must be before 1980, though the run can continue unrestricted.
America voted, and here are your Top 8:
1. Elvis Presley: 34 consecutive (1956-1964)
2. Beatles: 33 consecutive (1964-1976)
3. Michael Jackson: 17 consecutive (1979-1988)
4. Elton John: 16 consecutive (1972-1976)
5. Supremes: 15 consecutive (1964-1967)
6. Pat Boone: 14 consecutive (1956-1958)
7. Ricky Nelson: 12 consecutive (1957-1959)
8. Rolling Stones: 11 consecutive (1965-1967)
For both Elvis and the Beatles, our count reflects new singles by their primary labels (RCA Victor and Capitol-Apple). As to reissues, four-track extended plays (EPs), and — for the Beatles — product from miscellaneous labels, those making the Top 10 are included in the tally. All others are disregarded so as not to affect the streak.
Likewise with double-sided hits, duets, and Christmas songs. They are counted if Top 10, and ignored when not.
Before the “what about all the hits by (fill in name)” mail arrives, here are some music legends whose number of consecutive Top 10 Pop hits failed to reach double digits:
Aretha Franklin: 9 consecutive (1967-1968)
Herman's Hermits: 9 consecutive (1966-1966)
Connie Francis: 8 consecutive (1959-1961)
Paul McCartney (includes Wings): 8 consecutive (1971-1975)
Beach Boys: 7 consecutive (1963-1965)
Bee Gees: 6 consecutive, all of which reached No. 1 (1977-1979)
Temptations: 5 consecutive (1966-1967)
Chicago: 5 consecutive (1973-1974)
Everly Brothers: 4 consecutive (1960-1961)
4 Seasons: 4 consecutive (1964)
Stevie Wonder: 4 consecutive (twice: 1972-1973 and 1974-1977)
Marvin Gaye: 3 consecutive (1971)
DEAR JERRY: There is a word in Mildred Bailey's “Small Fry” that sounds foreign to me, and I have no idea what she is referring to.
The line says the small fry “has been carousing at the berleeque.” My spelling is just how it sounds. I don't think it's supposed to be barbecue.
Do you know what this means?
—Josie Mills, Milwaukee
DEAR JOSIE: It's safe to say there are no ribs on the menu where this small fry carouses.
The reason he is being scolded by his mother or guardian — a relationship not clearly defined — is because he is hanging around the burlique, slang for burlesque shows.
Exceptions exist, but most vaudevillian burlesque venues served up enough bawdy comedy and strip tease routines to make them off limits to small frys.
IZ ZAT SO? Though the focus of today's consecutive Top 10s is Pop hits of the 1950s through '70s, two honorable mentions stretch those parameters.
Louis Jordan (and His Tympany Five) chalked up 37 consecutive Top 10 R&B hits, from 1942 to 1948.
Yet another streak, one also started in the mid-'40s, is a phenomenal achievement that far outstrips all others mentioned above.
In the summer of 1945, with “Each Minute Seems Like a Million Years,” Eddy Arnold logged the first of 67 consecutive Top 10 C&W hits. The run ended in early '56 with “Trouble in Mind.”
Clearly this feat ranks among those unlikely to ever be equaled, field or style of music notwithstanding.
==============================================
Toll-Free: (800) 246-3255
"Rockin Records" is now on sale- call with the code "CVR" and receive $6 off your purchase
http://www.jerryosborne.com/
Jerry Osborne's "Rockin' Records" has long been the most popular record guide. Now with 1,104 pages, it is by far the biggest record guide we've ever made. It is regarded throughout the industry as the best available guide, and it is the one accepted by all the major insurance companies.
Call today with the code "CVR" to receive your discount!
FOR THE WEEK OF APRIL 13, 2009
DEAR JERRY: Going online makes it possible to find answers to trillions of questions, yet little ol' me can't seem to solve one musical mystery.
There are many listings of Top 10 hits, breaking things down several different ways, such as who has the most Top 10 hits; which ones remained there the longest, etc., etc.
But nowhere can I find mention of which stars had the most consecutive Top 10 Pop hits, specifically the first three decades of the Rock Era.
Can you dig up quirky details like this?
—Melanie Boyd, Harbor City, Calif.
DEAR MELANIE: Since most details we unearth are quirky to some extent, your query fits right in.
During those 29 years (1950-1979) there are nine artists with at least 10 consecutive Top 10 hits to their credit, according to either Billboard or Cash Box. To qualify, their first Top 10 entry must be before 1980, though the run can continue unrestricted.
America voted, and here are your Top 8:
1. Elvis Presley: 34 consecutive (1956-1964)
2. Beatles: 33 consecutive (1964-1976)
3. Michael Jackson: 17 consecutive (1979-1988)
4. Elton John: 16 consecutive (1972-1976)
5. Supremes: 15 consecutive (1964-1967)
6. Pat Boone: 14 consecutive (1956-1958)
7. Ricky Nelson: 12 consecutive (1957-1959)
8. Rolling Stones: 11 consecutive (1965-1967)
For both Elvis and the Beatles, our count reflects new singles by their primary labels (RCA Victor and Capitol-Apple). As to reissues, four-track extended plays (EPs), and — for the Beatles — product from miscellaneous labels, those making the Top 10 are included in the tally. All others are disregarded so as not to affect the streak.
Likewise with double-sided hits, duets, and Christmas songs. They are counted if Top 10, and ignored when not.
Before the “what about all the hits by (fill in name)” mail arrives, here are some music legends whose number of consecutive Top 10 Pop hits failed to reach double digits:
Aretha Franklin: 9 consecutive (1967-1968)
Herman's Hermits: 9 consecutive (1966-1966)
Connie Francis: 8 consecutive (1959-1961)
Paul McCartney (includes Wings): 8 consecutive (1971-1975)
Beach Boys: 7 consecutive (1963-1965)
Bee Gees: 6 consecutive, all of which reached No. 1 (1977-1979)
Temptations: 5 consecutive (1966-1967)
Chicago: 5 consecutive (1973-1974)
Everly Brothers: 4 consecutive (1960-1961)
4 Seasons: 4 consecutive (1964)
Stevie Wonder: 4 consecutive (twice: 1972-1973 and 1974-1977)
Marvin Gaye: 3 consecutive (1971)
DEAR JERRY: There is a word in Mildred Bailey's “Small Fry” that sounds foreign to me, and I have no idea what she is referring to.
The line says the small fry “has been carousing at the berleeque.” My spelling is just how it sounds. I don't think it's supposed to be barbecue.
Do you know what this means?
—Josie Mills, Milwaukee
DEAR JOSIE: It's safe to say there are no ribs on the menu where this small fry carouses.
The reason he is being scolded by his mother or guardian — a relationship not clearly defined — is because he is hanging around the burlique, slang for burlesque shows.
Exceptions exist, but most vaudevillian burlesque venues served up enough bawdy comedy and strip tease routines to make them off limits to small frys.
IZ ZAT SO? Though the focus of today's consecutive Top 10s is Pop hits of the 1950s through '70s, two honorable mentions stretch those parameters.
Louis Jordan (and His Tympany Five) chalked up 37 consecutive Top 10 R&B hits, from 1942 to 1948.
Yet another streak, one also started in the mid-'40s, is a phenomenal achievement that far outstrips all others mentioned above.
In the summer of 1945, with “Each Minute Seems Like a Million Years,” Eddy Arnold logged the first of 67 consecutive Top 10 C&W hits. The run ended in early '56 with “Trouble in Mind.”
Clearly this feat ranks among those unlikely to ever be equaled, field or style of music notwithstanding.
==============================================
Toll-Free: (800) 246-3255
"Rockin Records" is now on sale- call with the code "CVR" and receive $6 off your purchase
http://www.jerryosborne.com/
Jerry Osborne's "Rockin' Records" has long been the most popular record guide. Now with 1,104 pages, it is by far the biggest record guide we've ever made. It is regarded throughout the industry as the best available guide, and it is the one accepted by all the major insurance companies.
Call today with the code "CVR" to receive your discount!
Music News & Notes
Official Cover Art of Eminem's New Album 'Relapse'
Cover art of 'Relapse' provides a look at Eminem's headshot in mosaic, which is composed of thousands of pills prescribed by Dr. Dre.
Eminem has brought forward an official cover art of his forthcoming sixth studio album "Relapse" through his Twitter feed. The artwork shows his headshot mosaic composed of thousands of "250MG CAPSULES
=====================================
The Jadewalkers Limited Edition Vinyl
(Puta) Puta Records, a burgeoning all-vinyl micro-label out of NYC, announces the release of The Jadewalkers, EP II, a limited edition 7 inch record of 500 copies.
The Jadewalkers are a punk influenced rock-n-roll quartet originally from Gotenberg, Sweden. Singer-guitarist-writer Emma Viking Skull relocated the band to NYC in 2005. The album is engineered by Ivan Julian of seminal 70’s Punk band The Voidoids, and is mastered by underground Garagepunk baron Tim Warren of Crypt Records.
The record will be distributed both stateside and abroad, exclusively through the label’s in-house distribution network, a hand-picked bevy of boutique scale and independently owned record shops. Online distribution is via Puta Records website, www.Putarecords.com.
=====================================
The cover art for Velocifero, Ladytron’s latest album, was done by installation artist Eli Sudbrack, who met the band in Liverpool.
=====================================
The Jonas Brothers took to Twitter to reveal the cover art for their next album, Lines Vines And Trying Times, due out June 15. The album cover photo shoot apparently took place in Corisica, Texas at Caleb’s Diner.
=====================================
Eagles Member Close To Releasing Solo Effort
Timothy B. Schmidt is adeptly mixing his time touring with the Eagles with putting the final touches on his first solo album in eight years, Expando. Helping out on the LP is Dwight Yoakam, Graham Nash, Kid Rock, the Blind Boys of Alabama, Keb' Mo', Kenny Wayne Shepherd, Van Dyke Parks and Garth Hudson of The Band. Look for an autumn release date.
=====================================
Richie Havens News
Richie Havens, the act that kicked off the first Woodstock in 1969, is scheduled to appear at Noon on August 14 at the Bethel Woods Center for the Arts to celebrate the original festival.
A big part of Haven's Woodstock legend, of course, is that he was scheduled to be the festival's fifth performer, not its first, but he was drafted into service when traffic impeded those due on before him.
"It was 5 o'clock and nothing was happening yet," Havens remembers. "I had the least instruments and the least people (in his band). But they had to catch me first. I felt like, 'They're gonna kill me if I go up on stage first. Give me break. I need those four people in front of me to warm up the crowd. But the people were great. I was supposed to sing 40 minutes, which I did, and from the side of the stage they go, 'Richie, four more song?' I went back and did that, then it was, 'Four more songs...' and that kept happening 'til two hours and 45 minutes later I had sung every song I know," including an epic version of Freedom."
Read more of the interview here: billboard
=====================================
Velvet Revolver’s Singer Search Is Not Over
Velvet Revolver do not have a new lead singer. However, turns out all those recent reports that the band was close to naming their guy also were true.
“We thought we landed on the singer. We all did,” Duff McKagan says. “We played with him and we said, ‘OK, we got our guy. He’s great.’ ”
But he tells Rolling Stone, without calling out the singer who came oh so close, the group simply had second thoughts.
“Maybe if we would’ve got there and had gigs booked right then and there it would’ve been a different story,” McKagan says. “But we didn’t have gigs booked. We were given too much time and we were able to go, ‘Ah, fuck, I don’t like that about the guy.’ ”
Read the rest of this Rolling Stone article here: rollingstone
Subscribe to:
Posts (Atom)
