Tag Archive for 'LP'

BACKTRACKING FORWARD: CLEAN GROOVES

Published by Gregorious Winter on October 1, 2009 in Backtracking Forward and Editorial. 0 Comments Tags: , , , , , , .

OSBlog02_BktrkFWD_CleanGroovesThe sound of bacon sizzling in a frying pan is an uplifting way to start your morning. When that sound is coming from your speakers upon cueing up an LP, it’s time roll up the sleeves and clean your records. Unfortunately, scratches in a record’s grooves are there to stay. There are some unique home remedies out there to help reduce needle skipping, and some who claim the ability to literally bake a scratch out of an LP, but you can’t clean a scratch out of a record. Beyond nasty needle abrasions, the microgrooves on a vinyl disc are a breeding ground for dirt, mold, dust, oils and microscopic elements that all affect the playback of a recording. Ever notice a small ball of dust at the end of your needle when a record finishes playing? That’s also an indication that its time to clean some grooves.

Cleaning vinyl is the most important task in maintaining your collection, followed closely behind the condition of your stylus. Combining these two improvements results in a remarkable upgrade in the sound quality of your platters. We’re talking the difference between a fresh bowl and a soggy bowl of Rice Krispies except, in this case, you really want that soggy bowl of mush because Snap, Crackle and Pop aren’t coming out to play anymore. Once you give a used album a deep cleaning, the process should never have to be repeated again, as long as you abstain from manhandling your records while cooking greasy barbecue or weeding the garden.

Collectors have established many methods for thoroughly cleaning albums, ranging from the expensive and elaborate to the cheap and minimal. Depending on your budget, here are some of your options:

Professional Vacuum Cleaners

Expensive Yet Effective

Expensive Yet Effective

Do you have some money burning a hole in your pocket? Are you looking to give your vinyl the kind of treatment one would receive at a fancy day spa? Eradicate that dirt and mold with a top of the line record cleaning machine. It soaks, scrubs and vacuums away all the stuff you don’t want hanging out in your grooves, providing an exceptional cleaning experience. There are many companies out there who have developed varying models of machines that range from $500 to over $1000. It’s a large investment but some enthusiasts consider it one of the best. Check out VPI and Nitty Gritty for some of the more popular models.

Elmer’s Glue

Elmer's Glue Will Clean a Record Effectively

Elmer's Glue Will Clean a Record

That familiar bottle of white stickiness has another use to add to its roster, aside from arts & crafts and eating. Remember getting glue all over your hands as a child, waiting for it to dry and then peeling off the pieces? Those grubby hands were remarkably cleaner than before the project started. Same concept applies to a vinyl record—once the glues dries evenly across the playing surface, it can be pulled off in one piece and the contaminants that are the cause of surface noise are literally lifted out of the grooves. Here is a link to an endless message board thread discussing this process in detail. Pour yourself some coffee and get comfortable because these vinyl enthusiasts pick apart this method from all angles. While this is effective with an LP, it works best (and takes less time) when applying it on smaller 7 ” singles.

Distilled Water and Rubbing Alcohol

Non-Abrasive and Inexpensive

Non-Abrasive and Inexpensive

If you’re like me, making time to clean records can be difficult when the kitchen, clothes and backyard all scream to be cleaned first. To save time and money, take a trip to your local drug store and pick up a jug of distilled water, rubbing alcohol, empty spray bottle and a Scotch-Brite non-abrasive cleaning cloth. Fill the spray bottle with 80 percent distilled water and 20 percent alcohol. Carefully spray the solution on the grooves of the disc, giving it an even coating and staying away from the label. Start cleaning the disc from the inside to the outer edge, making sure you go in a circular motion with the grooves on the vinyl. Ensure that the LP is 100 percent dry before playback or storage.

Toothbrush and Soap

Make Sure Those Bristles Are Soft

Make Sure Those Bristles Are Soft

Here is another technique that is cost effective but can be quite time consuming if you are cleaning a lot of records. This method works best on 78rpm shellac discs (those old and brittle records found in your grandmother’s closet) as the grooves are a bit wider but it can also be used on LPs. Prepare a bowl with steam distilled water and just a few drops of dish detergent. Pick up a fine and soft bristled toothbrush and get to work, slowly tracing the bristles of the brush along the grooves with the soapy solution. Clean the surface afterward with a wet, lint free cloth and then dry it. Repeat as often as you like but please make sure you don’t put the toothbrush back in the bathroom!

If you’re going to devote hours upon hours to preserve the sound quality of your vinyl collection, then you’re going to need some good background music. Listen to this sampling of OurStage tunes, as you get into the groove.

BACKTRACKING FORWARD: DAPTONE RECORDS AND THE RETURN OF FUNK

Published by Gregorious Winter on September 24, 2009 in Backtracking Forward and Editorial. 0 Comments Tags: , , , , , , , , , , , , .

OSBlog02_BktrkFWD_DaptoneDuring the late 1960s into the mid 1970s, funk music reached its peak in terms of creativity and mainstream attention. Artists like James Brown, George Clinton and Sly Stone were just a few of the established musicians who carried the genre, though the heaviest grooves came from smaller groups who recorded singles that are now highly sought after collectibles. By the time disco emerged onto the scene and the foundational instruments of funk were replaced with synthesizers, the flame of getting down to a raw and gritty beat was extinguished. Funk had lost its way and its natural, hard hitting sound became murky and diluted. Only the true enthusiasts kept the spirit going through local and unknown bands and DJs who collected vinyl.

Enter Daptone Records and Mr. Gabriel Roth, the label’s co-founder and a serious collector of rare funk and soul 45’s. Believing that he was not alone in his desire to resurrect funk from its grave, he started Desco Records in the mid 1990s and recorded bare bone sessions with unknown musicians, releasing everything on seven inch singles. Financial troubles saw the demise of Desco in the late 1990s but this entrepreneur persevered, and with the help of Neil Sugarman, Daptone Records was born. With this act, these two vinyl junkies provided a home for an orphaned genre of music.

Daptone Records

Daptone Records

What makes Daptone Records so unique in this day in age is their strong connection to the past. This connection is heard not just in the quality of music they release, but is seen by how they run their label. Everything they record is done with analog reel-to-reel tape, resulting in a sound that has been missing from music for decades. Every session they produce is followed by a proper 12” LP release, with a slew of seven inch singles highlighting the top tracks on the album. Roth and Daptone have been believers of the vinyl medium long before the recent resurgence sweeping the globe. In an entertaining MTV interview, Roth and Sugarman claim the label has sold over 30,000 seven inches since its inception, helping to fund the quest for vintage recording equipment and essentially maintaining the operations of an independent label in a cutthroat industry.

Sharon Jones and The Dap-Kings

Sharon Jones and The Dap-Kings

The crème of their catalog, and the reason for their commercial success, is the dynamic Sharon Jones and the label’s backing band, The Dap-Kings. Their stage presence, wardrobe and funky horn arrangements owe much to James Brown and his dynamic JB’s and just like the Godfather of Funk, Sharon Jones and the Dap-Kings know how to play for a crowd. To see them live is truly a mind-blowing experience. Witnessing an eight piece band packed into a club with a sold out crowd dancing until their sweat glands have bled dry is what funk is all about it.

Daptone is essentially resurrecting the sound that gave birth to funk music and  exposing the genre to a fresh new audience. But instead of pigeonholing themselves, the label is spreading their reach further into the world of gospel, soul, R&B and world rhythms as well. Everything they record is available on seven inch, twelve inch and compact disc, making their discography enjoyable by DJs, vinyl collectors and digital music junkies alike.

Still not convinced? Check out the video for “100 Days, 100 Nights” and upon its completion, fire up your turntable and unleash a groove that has been bubbling after years of dormancy.

The Bamboos Bring On The Funk

The Bamboos Bring On The Funk

Simultaneously, on the other side of the globe, The Bamboos have been laying down hard funk grooves since 2001 with the release of their first seven inch, “Eel Oil.” This multi- piece outfit from Australia invokes the same ass-shaking, foot stomping beats that Daptone has prided themselves on but does so in their own contemporary style. While each member of the group contributes an incredible amount of talent in constructing brilliant funk and soul numbers, Danny Farrugia’s fast-paced rhythm behind the drum kit holds down the backbone of the combo, similar to Homer Steinweiss of the Dap-Kings and legendary Jabo Starks of the JB’s. Check out The Bamboos’ brilliant video “King of the Rodeo” on their OurStage page and break out your turntable because all of their recordings are available on vinyl!

Keep Digging For That Funky Wax!

-Gregorious Winter-

BACKTRACKING FORWARD: WANTED ON WAX

Published by Gregorious Winter on August 27, 2009 in Backtracking Forward and Editorial. 0 Comments Tags: , , , , , , , .

In my ideal world, everyone would have access to a vinyl press in their own backyard. Cutting discs would be as easy as ripping a CD. Until that happens, I will be digging each month in the OurStage archives to bestow three artists upon you whose music I would love to hear on vinyl.

gonzalo Bergara
The Gonzalo Bergara Quartet
There is a difference between copying an artist’s style and paying respect to an influential musician’s sound through your own approach. The Gonzalo Bergara Quartet achieves the latter flawlessly, taking the listener back to a time when an unknown gypsy guitarist from Belgium by the name of Django Reinhardt was recording his own unique variation of jazz and swing music on shellac 78 rpm discs. The impassioned track “B-612” is a lighthearted instrumental romp accentuated by Gonzalo’s superior guitar skills and the full bodied resonation of Rob Hardt’s clarinet. Each seems to be talking back and forth to one another throughout the tune, creating a spirited conversation between two majestic instruments. Some incredible videos of the quartet can be found here, here & here. They perform all over the world, especially at Django festivals, so make sure to catch them live for a truly uplifting experience.

The Higher Concept

The Higher Concept
The Higher Concept are a worthy addition to the hip hop community, bringing with them intellectual lyrics, crisp vocal styling and a deep respect for the vinyl platter. Representing out of the mighty Shaolin, these three up-and-coming New York MCs know how to engage an audience with their upbeat style and hard dropping beats, seen here performing with a live band. “Meantime” and “Recycled Thoughts,” two powerful sample laden tracks, showcase the group spitting lyrics backed by lush arrays of strings and instrumentals. “What Would I Do,” a more down tempo cut featuring sharp production skills and a guest MC helping out on the mic, unleashes a beat one can’t resist hanging on to. Upon listening to the bulk of their recordings, one can hear that The Higher Concept makes music because it’s truly their passion and the tracks they lay down are ripe for a pressing on wax.

Alex Baro

Alexis Baro
Alexis Baro’s trumpet is an extension of his creative being and he takes any opportunity to unleash the raw power this instrument holds within its chambers. His combination of jazz, funk and native rhythms evoke the spirit of fellow trumpeter Donald Byrd, circa his early 70’s Blue Note years when many of the label’s musicians began exploring realms beyond jazz in the galaxy of funk. Polished brass belting alongside a pound of fatback drums keeps a funky tone going throughout the aptly titled “Funky Bird.” The intensified arrangements on “From the Other Side” allow the band to brew up a groove of intergalactic proportions guaranteed to leave your senses reeling for days. The influence of Baro’s Cuban upbringing can be heard when he is laying down more definitive jazz compositions like “African Escape” and “Transitions,” both of which feature a heavy amount of palm slapping bongos and percussions. Alexis Baro has the flawless ability to shift between jazz, heavy funk and world-flavored rhythms while maintaining superior consistency and producing exceptionally well recorded material.

-Gregorious Winter-

BACKTRACKING FORWARD: CONTEMPORARY RARITIES

Published by Gregorious Winter on August 20, 2009 in Artist News, Backtracking Forward and Editorial. 0 Comments Tags: , , , .

osblog_gregwinter_bubble_contemprarities

What makes a record rare? Age? Condition? Quantity of initial pressing? Teeth marks made by Jimi Hendrix himself? Certainly all those factors come into play, but there are more minute details that help fuel the addicted record excavator. Label mispressings, censoring of album art, colored discs, DJ white label promo copies and scarce mono runs all help compilers fill the gaps in their collections, but these details are normally associated with used vinyl from its heyday decades ago. As the record album regains a foothold in today’s market, an interesting trend has already been emerging—a high demand for store stock vinyl pressed within the last ten years. Whole new breeds of collectors have entered the playing field and are seeking these elusive discs, creating new contemporary rarities.

Back in the late 1990s, quite a few of today’s popular artists were still building their fanbase and just gaining notoriety in the music world. During that time, vinyl sales barely caused a blip as MP3s and Napster reigned supreme. Consumers were not purchasing new vinyl and pressings of albums were very limited, even by major artists. Many vinyl releases, when they could be found, sat unsold on shelves waiting to be sent back to the vendor for possible meltdown and reuse. This is where the rarity card comes in. Due to the minimal sales of those LPs, a low number of copies went into circulation resulting in today’s exorbitant prices. Here are just a few examples of values reaching their peaks:

- Dave Matthews Band, Before These Crowded Streets LP (1999)- $300-400
- Wilco, Summerteeth LP (1999)- $200
- The Get Up Kids, Something To Write Home About LPs (1999) – $100-$200
- Sigur Ros,  Agaetis Byrjun LP (1999) & Self-Titled LP (2002)- $100 to $150 each
- Saves The Day, Sorry That I Am Leaving 7” single (1998)- $200-$400

The demand for the above mentioned LPs and 7″ single are fueled by the artists’ current success and popularity, despite the lack of foresight regarding vinyl’s up-and-coming collectibility. The next few years will be interesting to follow as the market continues to fluctuate. Big ticket genres like jazz, northern soul and obscure deep funk have all been hot for many years now, but they didn’t garner today’s high prices as previous generations of collectors were busy clamoring for doo-wop, Elvis Presley and obscure Beatles releases. the question now is have these contemporary rarities already reached their pinnacle in price or will the addition of so many new collectors continue to stimulate this branch of the record world?

The tide is always changing and anyone looking to dip their feet into this vast pool of knowledge can get started at Popsike.com, an online database engineered by German programmers and record junkies, which has tracked the prices of vinyl on eBay for the past eight years. It’s become the premiere, up-to-date contemporary price guide for rare wax. Similar to any collectible or antique, the Internet and eBay revolutionized the market, flooding the playing field with former rarities and opening the door for new contenders. So when buying an LP or 7″ pressed, make sure you hold on to those platters because in another five to ten years, collectors searching for original sealed copies of your album might end up paying for your next vacation.

signo nata Since joining the OurStage community, the incredible amount of talent available on the Web site lured me away from my turntables to discover amazing new music. Recently, the sounds of Signo Nata came blasting through my speakers, sparking a further dig into their musical offerings. Signo Nata stands out from the crowd due its members expansive musical backgrounds and varied cultural influences they bring to their music. “Levante,” a song screaming to be their 7″ single, is a fierce onslaught of electro-rock painted with a slab of new wave rhythm. Yely Pillot’s spry and rapid Spanish vocals help energize the track while Eddie Martinez takes care of business on the little strings and laptop.

“No Juegues Conmigo” takes things down a notch as the group harmonizes in both English and Spanish alongside some pleasantly satisfying beats in the background. Throughout all the tracks, Juan Carlos keeps the rhythm strong behind the drum kit, rounding out what has proven to be a powerful trio rising from the hazy heat of Florida, Puerto Rico and beyond.

Check out some of Signo Nata’s captivating material below or head over to their profile to get the full experience.

-Gregorious Winter-

BACKTRACKING FORWARD: 180 GRAMS OF JAZZ

Published by Gregorious Winter on August 13, 2009 in Backtracking Forward. 1 Comment Tags: , , , , , .

osblog_gregwinter_bubble_resugvinal1

No additives, preservatives or fillers—just 100% vinyl; 180 grams of pure, unadulterated wax. Pressing audiophile records is the antithesis of going green since any recycled material in a platter can result in inferior sound quality and surface noise. Despite a trend of conservationism, the more vinyl used when making a disc results in a cleaner sounding album so when shopping for new records or considering pressing an album for a release, purity of the material and weight of the disc are two important factors to consider.

Jazz record collectors are some of the most notorious audiophiles in the world, falling slightly behind classical music aficionados. In the 1950’s and into the 1960’s, many jazz labels, most notably Blue Note Records, were pressing their albums on vinyl that weighed in the ballpark of 180-200 grams. Major labels were practicing this standard throughout the early to mid 1950’s when the commercially available LP was only a few years old. As time progressed and cost cutting methods were introduced, vinyl records dropped in weight to an industry standard of 130 grams. In the 1970’s, RCA created a new disc weighing in at a mere 90 grams—a short-lived mistake. Today’s standard is between 130 and 140 grams, but as consumer demand increases for these “audiophile” editions, it’s worthwhile to understand what 180 grams actually represents.

So what’s all the fuss? First and foremost, an album’s sound is directly influenced by how well it’s recorded and mastered as well as the quality of the stylus being used to play the record. The added weight and depth of the 180 gram pressing allows for deeper microgrooves to be set into the platter. When combining that with a smaller stylus on a cartridge, more detail is picked up and relayed to the amplifier. The average stylus on a turntable applies 50,000 pounds of force per square inch on the record so a smaller groove combined with a cheap generic needle produces a slightly inferior sound. Basically, the finer the stylus and the deeper the groove means less wear and tear on a disc—one of the reasons why analog is still heralded as the cleanest sound.

In today’s vinyl resurgence, bands have the option of pressing their record on varying degrees of vinyl weight according to their budget. While a well-mastered album will sound brilliant on 120 or 180 grams, bumping up to the audiophile weight will be noticed by customers buying your album. On average, the increase in vinyl mass when manufacturing only costs about one dollar extra per disc. And if you are a jazz musician, the upgrade in quality results in those quiet passages with crisp instrumentals and soft and sultry vocals to retain their brilliance even after years of a disc being played. Original Lexington Blue Note recordings from the mid 1950’s weigh in at over 200 grams, providing a sound superior to contemporary jazz albums being released. While not every musician has the help of legendary engineer Rudy Van Gelder at the controls, the attention to quality paid off for that label.

Listening to Antonio Farao’s exquisite instrumentals conjures up a prime example of an artist whose already superb jazz recordings would transfer beautifully over to the analog format. This talented pianist has collaborated with an amazing repertoire of legendary jazz musicians and built up a hefty discography. But, it’s Antonio’s prowess for striking a balance between jazz and electronica that makes him stand out. On the song “Quiet,” Antonio’s soft piano takes the foreground as smooth beats drop in throughout this relaxed number. He becomes a bit more daring and experimental on “Line,” where he layers the track with a driving drum and bass background peppered with a simple horn arrangement, offering a striking precedent of this musician’s ability to build epic instrumentals. In “Kenny’s Mood,” on the other hand, Antonio performs with a troupe of talented players as he crafts a chaotic, yet pleasing, composition on the keys without the aid of electronic supplements.

Here’s a playlist showcasing Antonio’s incredible talent: