Article Matter – Vinyl Covers

Whapp’n yesterday?
Gosh, saw four stories regarding the state of vinyl, I wasn’t even specifically looking for them either, plus somebody complaining online about those that fetish over the stuff.  Everybody to their own, safe within what school they came up in, old, new, not conceived yet, just warming up etc.  Mpfreeze give you one thing, the music and are convenient for traveling dj’s, while vinyl gives you the music, plus something to read, learn & inform, put the links together over time re: studios, producers, engineers, musicians, session players, concepts, etc, add as  you see fit.

Record Store Day is apparently hurting those it was mean’t to prop up, the indie sector, yet the majors and dodgy make a quick buck operators are jumping on it, with limited editions already for sale at $1,000.   What else? Oh, Sonic Boom, (great name) a record store in Toronto, is opening up a walk-in record pressing service. Like dat! More on that here via Fact.

Also grabbing my attention was a record cleaning product, then I found out you can use carpenters glue. I had no idea….uh, that I treated my records so badly, so badly, that time has defo arrived to clean some of that ancient gunk and sweat etc. outta them grooves.

I had to move my records lately, so the electrician could get behind them to reach a socket, that he thought was causing the electric box to trip every time we turned a light on.  After all that effort, of course, that socket was not the problem…..grrrrrr.

Moving them has several positive things going for it,  the crazy notion of getting them all in proper alphabetic order, which will be an ongoing ten year job I reckon.  That is some physical exercise yeah.

Thanks to Anna Gavana & Peter Ericsson / Meerkat Recordings for the most recent vinyl jam session that took place in yard, amongst typical Swedish and Canarian foods, sweets, alcoholic and non-alcoholic beverages.

Former Virgin colleague, Jens Peterson Hallefors also knows what I mean when it comes to putting one’s vinyl collection in order.  Must be a Swedish thing…..

Let me finish on one reason, vinyl is better than mpfreeze, it gives commercial artists work.

 

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Afronaught_Shapin’ Fluid
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Ape Records, London
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Barry Adamson_The Negro Inside Me (Mute)
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Frederick Galliano ‘Sabar (Le Vent Et La Poussiere) ‘

Gordon Parks

 

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Gordon Parks, one of the most celebrated African American artists of his time, is the subject of this exhibition of groundbreaking photographs of Fort Scott, Kansas—focusing on the realities of life under segregation during the 1940s, but also relating to Parks’s own fascinating life story.

In 1948, Gordon Parks (1912–2006) became the first African American photographer to be hired full time by LIFE magazine. One of the rare African American photojournalists in the field, Parks was frequently given magazine assignments involving social issues that his white colleagues were not asked to cover. In 1950, Parks returned to his hometown in Kansas to make a series of photographs meant to accompany an article that he planned to call “Back to Fort Scott.”

Fort Scott was the town that he had left more than 20 years earlier, when after his mother died, he found himself—a teenager and the youngest of 15 children—suddenly having to make his own way in the world. He used this assignment to revisit early memories of his birthplace, many involving serious racial discrimination, and to reconnect with childhood friends, all of whom had attended the same all-black grade school as Parks. One of the most visually rich and captivating of all his projects, Parks’s photographs, now owned by The Gordon Parks Foundation, were slated to appear in April 1951, but the photo essay was never published. The exhibition at the Boston Museum of Fine Art, represents a rarely seen view of everyday lives of African American citizens, years before the Civil Rights movement began in earnest.

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More photographs from the exhibition can be seen here

200 years of African American art

JamesBalwin_Beauford DelaneyJames Baldwin by Beauford Delaney

NoWorld_KaraWalkerNo World by Kara Walker

MLKJr_John Woodrow WilsonMartin Luther King Jr. by John Woodrow Wilson

“From Henry Ossawa Tanner, the first African American painter to move to Paris and be accepted into the Salon, to superstars of today like Kara Walker, here’s how generations of artists have tackled race, identity and prejudice.” – The Guardian.

Represent: 200 Years of African American Art is at the Philadelphia Museum of Art from 10 January to 5 April

More art from this series here

Ear Con 111: Keroxen Closing Night

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I got a date tomorrow, the end is near, so I am preparing the digital record box…..whilst searching the deep recesses of hard drives and bending shelves for tunes for the closing night of Keroxen, I came across these documents. Some Keroxeneros like it rampt up to the max, with rave, jungle, d&b having taken a solid hold over the island back in the day. Got them covered with some modern d&b courtesy of Om Unit, then delving into the Congo Natty archive. Coincidentally, he is scheduled to play here tomorrow night also. Soundbwoy clash in Tenerife then! This goes out to all those that put in some effort to make Keroxen what is is – be it the organizers, volunteers, punters, all the artists of all persuasions, sponsors, officials at the town hall and those that hold them to their word.

“Rock and roll, what an empty generation”

Ear Con 111: Keroxen14 / Closing Box

Cigar Box – Al Dobson Jr.
The War – Om Unit feat. Jehst
Title unknown Ras11  Congo Natty
Title unknown – Hizbollah CD
Taboola – DJ Scotch Bonnet
Him Da Biz – Cooly G
Run Quick – NAH feat. GIVV
Breathe, rest, dig, rule – NAH feat. GIVV
Tomorrow – Hector Plimmer
Taipan Showers – Strict Fact
Stupid Wind – Sol Monk
P.L.O. Style – Wu Tang & Jimi Hendrix
Killer Dub – Vital Dub
Urania – Mono/Poly
Title unknown ‘Flex Bside’ – †€Ω§HµΩ
Close Your Eyes And Count To Fuck – Run The Jewels feat. Zach de la Rocha
Hard 2 Be – Machinedrum
Mother India – Moody Boyz Strollin’ Remix Fun-da-mental
Wait – Mala

Spring flowers….real close up

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Flowers are one of the great joys of spring, but viewing them under a scanning electron microscope uncovers a surreal, alien beauty. These images were created by the award-winning German microscopy team Eye of Science, comprising photographer Oliver Meckes and biologist Nicole Ottawa.

More photos at The Guardian,

Socos Dúo: Album – These Times We Are Living

Next week Saturday, 15th March, we will be on hand for the presentation of the first album for Socos Dúo and the first for us as a label.  We will pop a bottle of red for sure, it’s been waiting to be opened for a while.  I walked into Arena Digital studios where I quite often work, and the sound coming out of the speakers in the control room grabbed me hard.  They were recording what is now encapsulated within a 5¨disc with the title, These Times We Are Living.

The duo, formed six years ago by broad-minded souls, César Martín and Ciro Hernandez, most uniquely combine marimba and cello, to perform selections from their new album, including works by Astor Piazzolla,  Osvaldo Golijov from Argentinia, Assobio Jato, Heitor Villa-Lobos, ‘Violence’ by Philadelphia, USA-based, 2014 Grammy nominated Joseph Hallman as well as their own  compositions, Lights and Shadows, written by Ciro, and Two Butterflies by César respectively.

This album embodies a devoted commitment to classics and to the contemporary.  Academedic foundational studies intertwined with realism, exposing human frailties and achievements and creative fortitude.

Added to the musical element is the visual and fine art of Patricia Delgado. She joins force to create an unique engraved album cover. Stains on the move, black and white, no color, representing a state of stillness and calm.

More juice via their website, or here, as we have it.

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George Clinton – Clash interview

George_Clinton

If like me, you like your funk pure, un-cut and nasty, then you are aware of funky dealer, Dr. Funkenstein, defender of the pleasure principle, George Clinton. From a babershop quartet in Michigan to creating a universe that is P-Funk, George and Co., (Parliament Funkadelic, The Horny Horns, Fred Wesley, Maceo Parker, Bernie Worrell, Kid Funkadelic, Mike Hampton, The Parlets, Bootsy’s Rubber Band, Junie Morrison to name only an sillimillimeter out of a killameter) have seen some serious action. George was in London recently and Clash magazine caught up with him.  I have heard about the book he is putting together, detailing his trials and tribulations especially when it comes to the ‘record business’ and the shady lawyers, publishers and managers that have fleeced him and his co-horts for more than a pretty penny. He’s fighting back though, and fighting hard, as detailed right off the tip as you’ll see from the interview.

George Clinton – Clash Interview (in full)

We’re thrilled to meet the lysergic genius who, along with James Brown and Sly Stone, pioneered that dirty bastard offshoot of soul we call funk; the psychedelic wizard who masterminded Parliament and Funkadelic, and coined the term P-Funk to define the very genre he conceived; the bear-like bandleader that wrote ‘One Nation Under A Groove’, ‘Cosmic Slop’ and ‘Atomic Dog’, and laid himself open to sampling by anyone who required a deep groove, including Dr Dre, Snoop Dogg, Tupac and, more recently, Earl Sweatshirt. But, things go distinctly pear-shaped barely 20 seconds into our conversation.

A question about George’s first forays into the business as The Parliaments, a doo-wop group in New Jersey, is our opening gambit. But just as George’s memory begins to happily regress, we are rudely interrupted by his manager, who storms into our serene studio set-up brandishing a laptop, and asks Clash to excuse ourselves.

After several awkward minutes of shuffling around in the next room, trying politely not to hear the raised voices, we return to our interrogation seat. George is visibly irate. The conversation, he tells us, was with his lawyer, who was calling from a US court to update his client on the latest developments in one of many active suits George is involved in. Exploding with frustration and intent on being heard, this topic dominates the majority of our interview time, as George goes on to explain the reasons behind his wrath. And it gets complicated…

“If I could start all over, but with what I know now…” George sighs, shaking his head. “It’s hard to say that to a kid who wants to sing and wants to play instruments – you’re so hyped to go do it that shit don’t usually matter. You have no thoughts about it. You know people are crooked – you hear that all the time – but you don’t [think you’re gonna get screwed].”

He’s entangled in battles to retain the publishing rights to his own songs, to prosecute the lawyers who stole them off him, to uncover monies due from sampling royalties, and to extricate himself from a conspirational network that plagues his every turn. It’s no wonder he needs to let off some steam.

“Today, they try to take everything: your image, your road [touring income], your intellectual properties… They want it all!” he rails. “But they can’t own it no more because of this copyright recapture law that’s in Congress now.”

The law of which he speaks is actually the Copyright Act of 1976, which began to take effect in 2011, and is intended to allow artists to reclaim copyrights that may have been licensed elsewhere after 35 years. Authors have a five-year window in which to file termination notices – Bob Dylan, Tom Waits and The Eagles have all done so – and is also applicable posthumously to heirs of the author. As long as the work was not “made for hire”, i.e. created for a paid commission, the right of termination cannot be waived.

Clinton was successful in retrieving ownership of four Funkadelic album masters – ‘Hardcore Jollies’ (1976), ‘One Nation Under A Groove’ (1978), ‘Uncle Jam Wants You’ (1979), and ‘The Electric Spanking Of War Babies’ (1981) – but then faced another nightmare when the lawyer he entrusted to protect them and collect royalties from subsequently signed the rights over to himself.

George, then in the throes of a debilitating crack habit, which he’s since beaten, was initially unaware of the deception. “That was his job to do, to protect those!” he says. “He took advantage of [my drug habit]. But that does not matter: they’re still mine, and he still did what he did. [That call I just took] was him asking me would I drop the malpractice case, because I’m suing him for that. He’s trying to get all the money I got from everywhere, every source. I paid him a million dollars – he went to court one time for me. Never did shit. But I made sure that I stopped [smoking crack] just so that I would have the energy for the big fight.”

The “big fight” involves not only getting the rest of his music back, but also ensuring that everybody involved with writing for and with George gets what’s owed to them, and guaranteeing all future earnings. The trouble lies with the fact that the labels George is chasing have formed a complex coalition with the same lawyers representing his former publishers and, ultimately, an association to some of the judges hearing the cases.

“They’re actually compiling these fronts of defense!” George exclaims. “Every time we get ready to fight somebody and look up, it’s one of the two lawyers that’s defending them! So it’s actually a big conspiracy. My label is called The C Kunspyruhzy, because I see conspiracy. I’ve been saying that for 10 years now. In all these court cases that’s what I’ve been saying: I see conspiracy. That’s the only thing I can do, because before, I was on crack, so I knew I couldn’t make any sense high. So I made an effort for that reason alone – I mean, I needed to. I was sick, I wasn’t paying attention, and my body was wearing out because I’m 72. But I knew if I could change my habits there I would catch ’em off guard. And I think I did.”

Recruiting a team of trusted investigators, George has mapped out an FBI-style RICO chart – connecting the dots of all the offending adversaries – and promises to spill the beans in his forthcoming autobiography. He holds particular contempt for his former publishers, Bridgeport Music, who – aside from the fact that it’s claimed they won his publishing illegally – have concealed payments they received as the result of suing artists that sampled Funkadelic’s music.

“One of the people who worked for Bridgeport, [name redacted], they did a lot of their slimy shit against everybody, but the company didn’t take care of them, so they turned state’s evidence on them,” George reveals. “So I went to Switzerland, where they live, and got their deposition. [Name redacted] told us everything this guy did, and I’m putting that in the book. And then the other lawyers that they’ve paid along the way – judges, lawyers…

“So much has happened over the years with samples of those songs, that it’s the same judges and lawyers, and they just got happy on getting paid that they got sloppy as hell. Now, they still may be powerful enough in Congress and all that, because they lobby like hell, that they can override everything we got, but it’s gonna be in that book forever.”

Continue at Clash

World Press Photo Awards

A selection of the award winners ladies and gentlemen for it is that time again.

johnstanmeyer_djiboutiThe photo of the year winner, by John Stanmeyer, shows African migrants on the shore of Djibouti at night, raising their phones in an attempt to capture an inexpensive signal from neighbouring Somalia. The picture also won first prize in the Contemporary Issues category, and was shot for National Geographic. Photograph: John Stanmeyer

Netherlands World Press PhotoThe first prize in the Spot News Stories category shows Syrian rebel fighters taking cover amid flying debris and shrapnel after being hit by a tank shell fired towards them by the Syrian army in the Ain Tarma neighbourhood of Damascus, Syria. Photograph: Goran Tomasevic

brentstirton_westbengalThe first prize in the People category by Brent Stirton shows a group of blind albino boys in their boarding room at the Vivekananda mission school for the blind in West Bengal.

Spotted at The Guardian while listening to nothing but the slight hum of the computer, and the occasional car passing by.                               More at the world press photo website

Ya Dig.

Dig It: 1. To approve of,

To Dig: 1.  As in Crate Digging, to search for records or breaks, samples.

I dig the following clip from the Jackie Brown film, love Samuel’s vocal presence.  The phrase is a killer.  It’s within my dj sets, it’s appropriate, it’s dj battle material.