DJ’d at this on Friday night with my pals Adam Regan and Rhys Adams. I dropped this little beauty, which always gets a good response whenever I play it. It’s funny that when I purchased this record, I was DJ’ing at the Rum Runner playing New Romantic/Electronic music, but I always picked up on certain tracks that got played at the Disco, Funk and Soul night at the club.
Murray Gershenz, the charismatic owner of almost half a million records, has passed away aged 91.
Murray Gershenz wasn’t your average record collector. The subject of a moving documentary by Richard Parks earlier this year, Music Man Murray spent his life amassing close to 500,000 records which he kept in his two-story Los Angeles record shop, his passion and charisma capturing the imagination of record collectors and the media alike.
Unable to make ends meets and desperate to see his collection fall into safe hands, Murray put his archive – valued at almost $3million – up for sale earlier this year and in June, following publicity gained from Parks’ film, finally managed to find a buyer. A fleet of 52-foot-long trucks were employed to take the records to their new home.
As the LA Times report, Murray Gershenz passed away on Wednesday at the age of 91.
Put the kettle on and set aside twenty minutes and watch this superb documentary below:
When the weather warms up, ya gonna hear this album a lot, blaring out of car windows. Soundtrack of the summer! Mark my words!
Production heavyweight Rhys Adams returns with his second LP under the ‘YesKing’ moniker and his debut for the BBE label. Produced entirely by Adams, ‘Re-Record Not Fade Away’, marks a coming of age for the seasoned studio head and a sonic departure from the outfit’s 2008 debut ‘Rock This World’ (co-produced by Mark Rae of Rae & Christian fame).
Borrowing it’s name from the strap line appearing in Scotch Video Tape’s 1980s TV adverts, ‘Re-Record Not Fade Away’ is both a metaphorical reference to the longevity of music produced with passion and a literal reference to Adams’ studio techniques – in particular his preference for recording live to a 1960s 1/4 inch ferrograph tape machine, a process which Adams describes as ‘integral’ to the album’s sound providing a ‘unique and authentic’ feel with a firm nod to the Dub and Reggae traditions which permeate the album.
Featured artists provide a wealth of variety to the album’s underlying themes: Guitarist for The Soothsayers and Jerry Dammers’ Spatial aka Orchestra, Patrick Hatchett plays on much of the album also co-writing several tracks becoming, in Adams’ words, ‘central to the Yesking sound’. Togo born singer Kodjovi Kush adds afrobeat flavour to ‘One More Time’ with a vocal performance which displays his musical journey to East London via Ghana, Israel and ‘90s Central London cultural hotspot, the Africa Centre. ‘Rock This World’ collaborators make a welcome return in the form of Kenny Knotts, a UK dancehall vocalist with a string of top ten hits to his name and rapper Mystro, a seasoned veteran with a list of collaborations under his belt that reads like a who’s who of the UK scene. Representing the new generation of UK dancehall artists is Toddla T and Sticky collaborator Lady Chann providing unique sound system swag on ‘Secret King’. Decca signing Annie Bea adds a sweet summer feel to ‘Just Like Me’ and new voices Mel Uye Parker, Rioghnach Connolly offer accomplished vocals to lead single ‘Hardground’, a track which Adams is happy to describe as one of his proudest productions. All in all a rich mix thrown in to the sonic melting pot via that all important tape machine mixdown!
[The very tape machine to which the album owes so much is central to the album’s cover art produced by Adams together with artist Paul Curtis.]
In the days of Different Drummer, I had a lot of fun working with Rhys. I also learnt a lot from this talented dude. Respec Rhysy Bwoy!
Whilst surfing the Interweb, the other day, trying to track down a copy of this record, I came across this blog post and couldn’t agree more with what was said. In fact I thought it only right that I shout about it too….
I’ve had my trusty Sennheisers since 1992. I’ve taken them around the World for numberous DJ bookings, used them in the studio and only had to change the lead once and the ear pads twice, but the most important part of these headphones is, the sound. They sound great! Unlike…
Why do I see so many people wearing these? I don’t think they look particularly pleasing to the eye and they certainly ain’t pleasing to the ear – it’s a funny old thing, fashion. Don’t you agree?
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