Una colección de 450 vinilos busca dueño entre entidades públicas españolas

El periodista británico William Chislett quiere donar una colección de 450 vinilos de música clásica que pertenecieron a su padre, abogado y musicólogo en Oxford.

 ISABEL NIETO – REDACTORA • MAYO 17, 2023

Source: https://madridsecreto.co/450-vinilos-buscan-dueno/

vinilos
Crédito editorial: Shutterstock

El pasado 9 de mayo, en medio del fragor de las celebraciones por la festividad de San Isidro, el periodista británico William Chislett (@WilliamChislet3) publicó un tuit: «Vivo en Madrid y tengo 450 vinilos de música clásica heredados de mi padre, musicólogo en Oxford y en condición prístina. Busco un sitio donde puedo donarlos«.

En el propio mensaje, que al momento de escribir este artículo acumula más de 900 retuits y más de 1.000 «me gusta», daba una pista de que acudir a Twitter no había sido la primera –ni la única vía– por la que ha intentado dar salida a los cientos de vinilos: «He consultado algunos conservatorios de música y no tienen espacio«.

Según nos cuenta el periodista en una entrevista telefónica, la colección completa de su padre estaba formada por entre 3.000 y 5.000 vinilos. Antes de morir en 1984, donó una gran parte de ellos a la Facultad de Música de la Universidad de Oxford, pero le dejó seleccionar una parte de esos vinilos para conservarlos. Son los que ahora quiere donar.https://platform.twitter.com/embed/Tweet.html?id=1655933441530273792

«Tengo dos hijos. Que yo sepa a ninguno le interesa la música clásica, y tengo una cierta edad en la que estas cosas hay que pensarlas. Lo que no quiero es que cuando yo muera esos vinilos los tirasen o terminasen en la calle o qué sé yo. Además, creo firmemente en las donaciones públicas«.

Una colección de vinilos que podría acabar en Madrid

Que esos vinilos pasen a formar parte de la colección de alguna entidad pública es una de las condiciones que William establece para hacer la donación: «Así la gente tendrá más acceso«.

Otra condición («aunque no es completamente firme») es que la entidad a la que se donen pueda emitir el certificado regulado en el Art. 16 de la ley 49/2002 de régimen fiscal de las entidades sin fines lucrativos y de los incentivos fiscales al mecenazgo, que le permitiría desgravarse el valor tasado de la colección.

Además, quiere donar la colección al completo, sin fraccionar. La única excepción que ha hecho ha sido con la Biblioteca Nacional de España (BNE), a la que ha donado unos 20 vinilos de música española de compositores como Falla y Albéniz, pero «ya no quiero fraccionarla más. O se acepta toda o nada«, señala.

vinilos
La colección de más de 400 vinilos de William || Imagen cedida por: William Chislett

Entre los vinilos –de los años 50, 60 y 70– hay música de compositores como Mozart, Beethoven, Dvořák, Elgar… Entre las instituciones públicas que han manifestado su interés por hacerse con la colección se encuentran la Universidad de Castilla-La Mancha, la Universidad de Valladolid, una fundación malagueña y la Biblioteca Musical Víctor Espinós del Centro de Cultura Contemporánea Conde Duque, en Madrid.

A día de hoy, según cuenta a este medio, se encuentra en conversaciones con diferentes instituciones y por el momento «no hay nada decidido». «Siendo una herencia de mi padre me quiero asegurar de que acabe en un buen sitio, para respetar su memoria y que la gente pueda hacer uso de ella».

Otras donaciones de William a España

El germen de las donaciones de William se remonta a la que le hizo a la Biblioteca Nacional de España de algunos libros de Arturo Barea, a raíz de su exposición en el Instituto Cervantes sobre el autor en el año 2018: «Me escribieron un correo de agradecimiento por haberlo hecho en vida. Mucha gente, con buena intención, les manifiesta su deseo de hacer donaciones, pero si no dejan por escrito esa voluntad es una oportunidad perdida», explica al otro lado del teléfono.

«Eso me hizo pensar en que no podía dejar pasar más tiempo para donar los libros y los vinilos». Así, en los dos últimos años ha donado 500 primeras ediciones de novelas en inglés a la Universidad de Alcalá de Henares y 500 libros sobre España (en español y inglés) a la Universidad de Cantabria. Y solo es cuestión de tiempo saber cuál será el nuevo hogar para la colección de música que reunió su padre

Sound Burger: La autenticidad del vinilo de los años 80s

Sound Burger: La autenticidad del vinilo de los años 80s

En la era dominada por la música digital y las plataformas de streaming, hay algo especial en disfrutar de la calidez y la autenticidad del vinilo. Audio-Technica ha sabido capturar esa magia y llevarla al siguiente nivel con su tocadiscos portátil Sound Burger.

El Sound Burger, un clásico icónico de los años 80, regresó con fuerza para deleitar a los amantes de la música analógica. Este tocadiscos compacto y liviano es el compañero perfecto para aquellos que desean disfrutar de su colección de vinilos en cualquier lugar y en cualquier momento. Lo que hace que Sound Burger sea tan especial es su diseño ingenioso y su estética retro. Un tocadiscos que encarna el espíritu de la época en la que el vinilo dominaba la escena musical. Es una pieza que rinde homenaje a la historia y a los amantes del vinilo de antaño, pero también es una declaración de estilo para los audiófilos modernos.

Sound Burger: La autenticidad del vinilo de los años 80s

Equipado con características modernas

A pesar de su apariencia clásica, el Sound Burger está equipado con características modernas para satisfacer las necesidades de los amantes de la música de hoy. Ofrece conectividad inalámbrica Bluetooth, lo que permite una experiencia de escucha sin cables. Además, cuenta con un puerto USB-C para una carga rápida y conveniente.

Sound Burger: La autenticidad del vinilo de los años 80s

Reproducción suave y precisa

El sistema de tracción por correa del Sound Burger permite reproducir discos de 33-1/3 y 45 rpm, lo que significa que puedes disfrutar tanto de tus sencillos favoritos como de tus álbumes completos. Su sistema de equilibrio dinámico asegura una reproducción suave y precisa, mientras que el motor de corriente continua garantiza un funcionamiento sin problemas.

Sound Burger: La autenticidad del vinilo de los años 80s

Compacto y liviano pensado para viajar

El Sound Burger también ha sido diseñado pensando en la portabilidad. Es lo suficientemente compacto y liviano como para llevarlo a todas partes, ya sea para animar una fiesta, disfrutar de un picnic o simplemente para disfrutar de música en tu hogar. Además, viene con un cable de audio RCA, lo que te permite conectarlo a tu sistema de sonido doméstico o a altavoces activos, brindándote la flexibilidad de disfrutar de tu música como prefieras.

Nuevos colores para el tocadiscos portátil

El tocadiscos portátil emblemático de la reconocida marca japonesa experimentó un relanzamiento el año pasado, cautivando la atención con su vibrante tono rojo retro. Esta iniciativa fue parte de la celebración del 60 aniversario de Audio-Technica y, para sorpresa de todos, se agotaron en todo el mundo en cuestión de días. Ahora, Audio-Technica presenta el tan esperado regreso del icónico Sound Burger, esta vez luciendo una elegante combinación de colores blanco y negro. Además, para deleite de los entusiastas, una versión llamativa en color amarillo llegará al mercado durante el verano de este año.

Sound Burger: La autenticidad del vinilo de los años 80s

Magia del vinilo con sonido excepcional

Si eres un amante de la música y buscas una experiencia única y envolvente, el tocadiscos portátil Sound Burger de Audio-Technica es la elección perfecta. Disfruta de tus vinilos favoritos en cualquier lugar y revive la magia del vinilo con estilo y calidad de sonido excepcionales.

Características técnicas de Sound Burger 

El mismo fantástico diseño del Sound Burger, pero con muchos elementos actuales
Conectividad Bluetooth
Puerto de carga USB-C
Tocadiscos portátil con tracción por correa
Reproduce discos de 33-1/3 y 45 rpm
Adicionalmente, un motor de corriente continua de alta precisión mantiene una rotación estable
Plato de aleación de aluminio fundido a presión con sistema de amortiguación
12 h de batería
Aguja ATN3600L reemplazable
Accesorios:
Adaptador para 45 rpm
Cable RCA (3,5 mm macho a RCA dual macho)
Cable USB para la carga (USB tipo A / USB tipo C™)

Precio y disponibilidad

El Sound Burger (AT-SB727) de Audio-Technica estará disponible en blanco y en negro a partir del 31 de mayo de 2023 exclusivamente en la página web de la marca por 229 €.

Sound Burger: La autenticidad del vinilo de los años 80s

Sobre Audio-Technica 

Audio-Technica es una marca japonesa que fue fundada en 1962 en Tokio, Japón. Desde sus inicios, la compañía se ha centrado en la fabricación de equipos de audio de alta calidad, incluyendo micrófonos, auriculares, tocadiscos y otros productos relacionados. A lo largo de los años, Audio-Technica ha ganado reconocimiento y prestigio a nivel mundial por su innovación tecnológica, su atención al detalle y su compromiso con la reproducción precisa del sonido. La marca ha expandido su presencia a nivel internacional, convirtiéndose en un referente en la industria del audio y siendo elegida por profesionales y amantes de la música en todo el mundo.

Texto: Javier Abio   |   2 junio 2023

Source: https://www.neo2.com/sound-burger-autenticidad-vinilo/

Jim Kerr of Simple Minds Gets Directly to the Heart of the Vinyl Matter

Mike Mettler  |  Nov 4, 2022

Source: https://www.analogplanet.com/content/jim-kerr-simple-minds-gets-directly-heart-vinyl-matter

im Kerr, lead singer of Simple Minds, is one of us. As a kid growing up in Glasgow, Scotland in the early 1970s, collecting vinyl was of paramount importance, and he got himself a day job just so he could buy records and go see concerts. (Sound familiar?)

Fast-forward to the present day, where Kerr and his megaplatinum-selling band Simple Minds have just released their 18th studio album, Direction of the Heart, via BMG on 180g black vinyl that was manufactured in Poland. (Orange and silver LP variants are also available, for those so inclined.)

Direction marries the best sonics and songwriting intentions of the band’s high-profile 1980s recordings with modern-day sensibilities. “That’s the ideal — and it sounds like it’s an obvious ideal, but it’s never easy to do,” Kerr allows. “However, I think we’re pretty darn near it here, because the past is the past. You can’t go back. Recently, we celebrated the 40th anniversary of New Gold Dream 81-82-83-84 [which was originally released on LP in September 1982] by playing it in its entirety at the last gig of our tour [at Summer Sessions in Edinburgh, Scotland, on August 13]. So we cango back to playing that record while knowing that you can’t completely go back — but you can evoke, and you can connect that kind of feeling we had when we were 19, and 20. But it would be like trying to build the Brooklyn Bridge again now.”

That said, Kerr prefers to look ahead, artistically speaking. “It’s a different world,” he agrees. “There are different materials. There are different people. We know too much, almost — and I don’t say that in a bad way. There’s an idealism that comes into it, and I think if we can conjure up the essence of those early art-rock days — but do it with more focused songwriting that comes through experience — and then get that all together on an album, it’s not a bad combination.”

Not in the least. To delve into all that conjuring and more. Kerr, 63, and I got onto Zoom together across the Pond to discuss how important buying vinyl was (and still is) to both him and his Simple Minds songwriting partner, guitarist Charlie Burchill, why it was crucial to shape Direction of the Heartspecifically as a two-sided record, and how important an influence David Bowie albums remain as part of his creative life to this day. I opened up and I was able to see / The vision thing, you got the vision thing. . .

Mike Mettler: I’ve long felt like Simple Minds have fully embraced vinyl throughout your 40-plus-year career. How important has the vinyl resurgence been to you as an artist and a listener? How do you feel about it? 

Jim Kerr: Well, first of all, initially, it’s just mind-blowing. And there’s a great story you’ve probably heard — I dunno how many years ago this would be now, but Sony wanted rid of one of the main vinyl pressing plants in Holland [Haarlem, since renamed Record Industry]. And this kid [Ton Vermeulen] who was just pressing up vinyls for DJs, he took it off them for a song. They wanted rid of it, and they just gave it to him! And now, they’d move the earth to get it back! (laughs heartily) I mean, who could have foreseen that? 

But embracing vinyl — t’s been an amazing thing. For me, even just the culture of it — the culture of not only the putting the needle on, but the artwork, the whole thing. Walking around with your own [vinyl] billboards, seeing who you wear. It was how you cut your cloth, what tribe you were part of, and all that culture. Thank God there are still remnants of that — and growing remnants. New remnants.

Mettler: Speaking of new vinyl, let’s get into Direction of the Heart, which runs for a nice 40ish minutes. Were you thinking of sequencing it for two sides, right from the start? What was the thought process when you guys started on it? 
Kerr: It’s just inherent. I mean, that whole CD thing of 13 tracks — first off, no one’s got 13 good tracks. Forget it! It’s like, if you give me 13 tracks, my heart sinks. It’s more like, “Give me your best three.” You know? “Give me your best two sides.”

We still see it as roughly 43, 44 minutes — if you get there. I mean, I would have it at 37, 38 [minutes], but people feel like they’ve been ripped off. That’s just the same as adding to the seven days in a week. No one’s going to convince me any different. They might try and change it, but . . . (laughs)

Mettler: Well, only The Beatles are allowed eight days a week. Everybody else — probably not. Only them. 
Kerr: (laughs) Okay. That’s the only one. Only they can get away with it. But that album length, it’s just inherent. There’s something about it. Listen, I even feel it in podcasts. A lot of podcasts are 42 minutes, 45 minutes. Enough’s enough. 

Mettler: Yeah, you should know when to not overstay your welcome. When it came to the recording process, I know this is a bit of a lockdown record, but were you and Charlie [Burchill] able to be in the same studio together, and everybody else kind of came in remotely, so to speak? How did you guys do that? 

Kerr: That was one of the real positives about it. Because we were locked down, and because there was nothing else able to go on, Charlie and I not only did get in the room together — we were the only ones in the room! It’s fortunate that we get on. Because it was just us for a lot of it. Towards the end, we augmented stuff, but for the longest part of it — the biggest part of it — it was the two of us. That’s how we started the band — it was the two of us. 

There was nothing else going on — no distractions. There was a real commitment there I’d like to think is perceivable in the music. We got really, really into it. And it gave us a chance to not just go with the first thing, but to kick the tires a bit. Things would be sounding real good, and it would be like, “That’s done. That’s done.” Then we’d go back two weeks later: “That’s not done. Let’s go again.”

Again, one of the things coming out of that thing was that while the whole world ground to a halt, we found a way of at least keeping the creativity going.

Mettler: Was there any one track that you didn’t have to mess with too much, one that just kind of fell into place easily? 
Kerr: The opening track, “Vision Thing,” just felt right. It just felt like, this is what the record’s all about. It really did. And from the opening chords, it’s like, “Yeah, this is where we want to be.”

Kerr: The song’s a celebration of life — essentially, my dad’s life. He passed during the record [being made]. But that’s in a real sweet spot, because we’re playing it live just now, playing at festivals. A majority of the audience don’t know it and certainly don’t know what it’s about, but they’re jumping up and down because it’s a real joyous journey. In amongst the chords, there’s an obvious sentimentality due to the subject matter. I think that’s a sweet spot between joy and sadness, between darkness and light — all that stuff. If you can get in there, it’s a good place to be. 

Mettler: There is a signature feel going on with it, for sure. Another track I’d like to get more into is “Solstice Kiss,” and the way it starts out — I almost feel like it’s a not-too-distant cousin of “Belfast Child” [a linchpin track from Simple Minds’ May 1989 album, Street Fighting Years], in a way. Was that intentional? Did you want to have that connection point sonically? 
Kerr: That’s bang-on, yes. That’s one of the songs written by our bass player, Ged Grimes — well, the music anyway. And Ged has this connection to Celtic music. He does a lot of music in the game world, and he worked on a couple of things recently that were using the very best Celtic musicians.

He came up with this tune, and at the start, there was this whistle thing that was very reminiscent of “Belfast Child” that we thought, when we heard it, “You know what? Elaborate on it.” So, there’s a little “Stairway to Heaven” at the start (chuckles), but then it comes in with the suitable bombast.

And by the very name “Solstice Kiss” — it’s ethereal, and you can very much feel the skies. I guess the title itself made me wanna write about that, or that kind of romance. I could feel all those pictures in the music.

Mettler: I can see that, literally. It’s a beautiful thing. As to the vocalizations on the record, I feel like there’s a lot of interesting, layered vocal choices — again, something I feel like is a hallmark of yours. When we hear another voice, whether it’s male or female — and I believe Sarah Brown is your female vocalist. . . 
Kerr: (interjects) Sarah is amazing, yes!

Mettler: No pressure to obviously match your previous work because in the ’80s, you had the great voice of Robin Clark’s along with you. That helped thread the needle of the sound you wanted for this record, I think. 
Kerr: Well, it’s great that you mentioned that — going back to the ’80s, and those records we did with Robin Clark. At the time, of course, Jimmy Iovine was producing that album, [October 1985’s] Once Upon a Time. I would have a loose notion of something, and he would say, “Just go for it! What is it you’re trying to do here?” I’d say, “Well, we’re trying to get this sound — I remember seeing this singer that did the Bowie thing” [i.e., Clark sang backing vocals on March 1975’s Young Americans]. Jimmy said, “Why don’t we get her, then?” “Ok, great! Could we get her?” “Yeah, we can get her!” And she would come in, and it’d be great. 

[MM adds: Just cue up tracks like “Sanctify Yourself,” “All the Things She Said,” and “Alive and Kicking” to see/hear exactly what we mean!]

The Vinyl Record Factory That Makes Your Niche Music Dreams Come True

Source: https://www.wired.com/2016/01/alastair-wiper-record-industry/

Record Industry produces millions of records a year in the Netherlands. Photographer Alastair Wiper spent a day capturing the music-making magic.

Creating the master

A cutting machine etches a groove into a lacquer or DMM copper disc, the first step in creating the master record.

EIGHT-TRACKS GAVE WAY to cassettes, which gave way to compact discs, which gave way to streaming audio and hi-res files. If there’s one constant in the music biz, it is that every format eventually yields to newer, better technology. All but vinyl, that is. Somehow, records have not only endured, but lately they’ve enjoyed a renaissance.

It’s odd when you think about it. Records are archaic technology, a format that is not at all portable and subject to all manner of degradation, from scratches and skips to pops and clicks, if it isn’t properly and lovingly cared for. But audiophiles insist vinyl offers superior sound. We’ll stay out of that debate, but you have to admit it is pretty cool how vinyl works.

“Sound is converted into microscopic ridges and valleys, stamped onto vinyl, played back through an extremely sensitive needle and amplified thousands of times in your living room,” says photographer Alastair Philip Wiper. “It’s almost unbelievable.”

That’s a bit of a simplification, but you get the point. There’s a process to it that borders on artistry, something Wiper—who loves records—discovered during a visit to Record Industry, a pressing plant in the in the Dutch city of Haarlem. The British photographer followed every step in the process, from making the master to pressing the wax to shrink-wrapping the finished product. “Seeing how it’s done really makes you realize how amazingly clever this old-fashioned technology is,” he says.

They’ve been pressing vinyl there since Dutch record label Artone opened the now 70,000-square-foot factory in 1958. Columbia Records took over in 1969, printing about a gazillion records over the years (more than 40 million copies of Michael Jackson’s Thriller alone). But as CDs gobbled up sales, Sony (which merged with Columbia) sold the factory to Ton Vermeulen, a former DJ, in 1998.

Of course, the vinyl biz went into a tailspin with the rise of compact discs, but it’s rebounded in recent years. Hardcore audiophiles never gave up on the format, of course, but hipsters and nostalgic baby boomers helped fueled a resurgence that started in 2006, and sales remain strong. In fact, sales surged 30 percent last year, marking the 10th consecutive year vinyl saw increasing sales, according to Forbes. Although vinyl is but a tiny share of all music sales, its increase came even as digital and physical sales continued to decline as streaming rose. Given the boom in business, Record Industry can crank out around 30,000 records a day.

Wiper visited Record Industry while on assignment for *Norwegian *magazine and found the place pulsing with life. Loudspeakers broadcast classic rock and pop, competing with the clank and hiss of 33 presses busily churning out records. “They told me at the factory that all sorts of artists like One Direction and Katy Perry are getting their tracks released on vinyl now,” he says. “I have no idea who the hell would buy that.”

Every record begins in the mastering department, a space as clean and tidy as a microchip factory. Here, a cutting machine etches a groove of constantly varying shape into an acetate disc called a lacquer (copper discs are used as well, though the process for those is slightly different). A technician sprays the lacquer with silver and puts it in an electro-forming bath to produce a layer of nickel. The nickel disc separates from the original to make a negative. The process repeats again to make a positive disc from which the final stamp is made.

On the factory floor, a press fixed with two stampers—side A, side B—flattens a vinyl puck between them like a sandwich for about 20 seconds. The edge is trimmed to make a tidy circle, and the record allowed to cool for a few minutes before going off to sit for anywhere from three hours to overnight. Then it goes into a sleeve, the sleeve into the cover, and the whole thing shrink-wrapped and stickered.

Wiper captured each step with his Nikon D810. The beauty of the images lies in the realization that you’re seeing something so recognizably iconic being made. One shows the golden puck for a gold record just the moment before it’s squeezed between two stampers. In another, a freshly pressed disc hangs at the center of a packaging machine, its bright red vinyl outshining the blue cables and gray mechanical parts surrounding it.

For Wiper, the shoot was akin to a spiritual journey. The photographer began seriously buying records in the mid-’90s when he began a DJ gig–“old soul and R&B and other weird things”—and quickly got hooked on the hunt. He spent countless hours rifling through second-hand shops across eastern Europe, where he recalls picking up pristine 50-year-old records for cheap. His collection has soared past 800 albums and singles, including classics by The Beatles, Jimmy Cliff, and his favorite, Edwin Starr. For him, the tangibility is key.

“It doesn’t sound the same on Spotify, all clean and without the crackles,” he says. “Records have been part of my life in one way or another for as long as I remember, so seeing how they are made and visiting the factory that undoubtedly made some of the records in my collection was experiencing the birth of something close to my heart.”

Vinilos, un buen reclamo para la ‘Generación X’

Tras varios décadas exiliado de muchas casas del país, el vinilo vive desde no hace muchos años su segunda oportunidad

https://cdnapi.codev8.net/cms-player/0bfbcfb2-b2a2-4f92-a1db-554b762941db?startFromSecond=0

REDACCIÓN Sergio Blasco Monter

23 Abril 2023, 21:05

Actualizado 23 Abril 2023, 21:04

Tras varios décadas exiliado de muchas casas del país, el vinilo vive desde no hace muchos años su segunda oportunidad.

Ya se vuelven a ver en las estanterías de las escasas tiendas de discos que hay en la región, pero a penas hay rastro en ellas de joyas de la música como Madonna, The Beatles o Annabel Lamb. Discos que sólo se pueden hallar en ferias como la que se ha organizado este domingo en Badajoz.

“Son cosas que no se pueden encontrar ya tan fácilmente ni por otros medios como Internet”, nos ha explicado una de las asistentes a la feria. Discos que “por lo que veo están en muy buen estado tanto las carátulas como los discos a la hora de reproducirlos después”, nos ha asegurado otro de los compradores.

Vinilos

El regreso del vinilo

Y es que como ave fénix resucitado, el vinilo se ha convertido en un buen reclamo y sobre todo un sueño alcanzable para los extremeños de la ‘Generación X’, es decir, aquellos que nacieron entre 1965 y 1981.

La nostalgia aquí juega un papel fundamental porque “todo es apetecible. Voy a coger algunas cosas que en su día no tuve y que ahora te hace un poco rejuvenecer también”.

Para otros, esta feria es un regalo porque “llevo coleccionando vinilos desde hace 40-50 años y me gusta mucho. Como puedes comprobar soy un fanático del rock”.  

Público rebuscando discos

Sin duda, aquí se puede encontrar de todo “cosas más antiguas como de Nino Bravo… y cosas antiguas de cuando éramos niños: ‘Los mundos de Yupi’ que me ha sorprendido y me lo llevo sí o sí”, nos decía una mujer mientras rebuscaba entre los discos.

Y es que ya lo dicen, el tren solo pasa una vez en la vida. 
 

¿Qué hacer con tus vinilos viejos?

MÚSICAREPORTAJES

Por Redacción EER  2 días atrás0

vinilos viejos

Los discos de vinilo han vuelto. No sabemos si para quedarse, pero de momento siguen resistiendo el paso del tiempo. Incluso podríamos decir que nunca se fueron. Y es que por mucho que podamos disfrutar de la alta fidelidad, hay géneros musicales cuyo sonido gana mucho encanto cuando sale de un tocadiscos plataformas en red como momox. Son muchos los artistas actuales que aún hoy en día publican sus trabajos también en este formato, aunque es en el mercado de segunda mano donde a veces podemos toparnos con auténticas joyas. En este artículo os contamos un poco más sobre este mercado.

Vinilos que van y vienen

Somos muchos los que hemos crecido con los vinilos. No obstante, con la llegada del CD, estos acabaron, en el mejor de los casos, en un rincón y en el peor, en la basura. Si eres de los que los guardó o de los que ha heredado una buena colección de sus padres, estás de enhorabuena porque, en la actualidad, son muchas las opciones que existen para sacar algún provecho de ellos.

Por supuesto, si tienes un buen tocadiscos, habrá muchos de los que no te querrás desprender. Hay clásicos que nunca pasan de moda. Pero, seguramente hay otros que, sinceramente, no te motivan. El resurgir de los vinilos ha reavivado un mercado de segunda mano en el que se puede dar salida a lo que no se quiere y que, a la vez, te ofrece la posibilidad de adquirir auténticas joyas que han aguantado bien el paso de los años y que te apetece disfrutar.

Así pues, son muchas las plataformas en red como momox que te permiten sacarte de encima los que no quieres y, de paso, recuperar algo de dinero para invertir en nuevos vinilos para tu colección. Para los que no sean amigos de las opciones online, en muchas ciudades hay tiendas físicas de vinilos que también los compran.

Cómo conocer el valor de un vinilo

Tanto si quieres comprar como si quieres vender, hay que tener en cuenta algunas variables a la hora de fijar o aceptar un precio. Así pues, algunos aspectos importantes a tener en cuenta son:

  • El estado del disco. Si el disco tiene alguna raya o desperfecto, se ve doblado, si la funda está rota o si falta algún elemento (por ejemplo, muchos vinilos incluyen un libreto con las letras de las canciones o alguna información extra), estos pierden valor. Es imposible valorar muchos de estos elementos cuando la transacción es online. Por ello, algunas páginas especializadas en este tipo de compraventa usan una escala para indicar el estado del producto. La más clásica es la Goldmine, en la que “Mint” sería el nivel más alto, el equivalente a un disco en perfectísimo estado, mientas que “Poor” sería el nivel más bajo, que indica que el disco no tiene ningún valor.
  • Primeras ediciones, ediciones especiales o limitadas. Tendemos a pensar que los discos más antiguos son los que tienen más valor. Pero no es así.  Por ejemplo, al igual que los libros, en el caso de los vinilos puede ser que se saquen varias ediciones. Y como en el caso de los libros, la primera edición suele ser la más valorada. Y cuanto más limitada, es decir, cuantos menos ejemplares haya en circulación, más especial y más valor tendrá. Eso sí, como siempre, el estado del disco sigue siendo el elemento principal. Una primera edición en mal estado no nos aportará mucho beneficio.

Para hacerte una idea de lo que puedes conseguir, puedes echar un vistazo en la red a las diversas plataformas o páginas especializadas y ver como se cotiza ese vinilo en cuestión. De ese modo, te puedes hacer una idea de si estás ante un pequeño tesoro o si vas a sacar poco de esa venta. No obstante, no te desanimes, aunque no tengas ninguna joya, si tienes unos cuantos vinilos para vender que no están en mal estado, puedes sacarte algo de dinero con ellos.

Los más buscados

A modo de curiosidad, existen muchas listas por la red acerca de los vinilos mejor valorados o más buscados por los coleccionistas y aficionados a este formato. Y cada una es diferente. No obstante, hay algunos trabajos que aparecen en casi todas ellas. Por ejemplo, el Yesterday & Today de los Beatles con su macabra portada de carniceros; Bleach, el primer disco de Nirvana; el demoniaco The Black Album de Prince o el mítico Led Zeppelin I. Por otro lado, si te va más el producto nacional, una primera edición del primer disco de Vainica Doble, lanzado en 1971, puede rondar los 2 000 euros. Con casi toda seguridad no tienes ninguno de estos en casa. Pero eso no quita que puedas tener, con un poco de suerte, alguna cosa de valor. Y si no… ¡siempre te quedará la música!

Como el Vinilo superó las ventas del CD

PorErnesto Rodriguez 26 abril, 2023 05:40

Si coleccionas o tienes en tu vida alguien que colecciona música debe haber sido llamativo ver como hace unos años pasaba de comprar CDs, el formato que en los 80 definió la forma en que se escuchaba música en los hogares, a comprar discos de vinilo. Es que sea por el amor de los coleccionistas, los diferentes detalles del sonido o la pura nostalgia el disco de vinilo se convirtió en el principal producto para adquirir la música en formato físico. 

Este año, por primera vez, las ventas de los vinilos superaron a los CD en Estados Unidos, un dato que en España se alcanzó el año pasado, cuando el 54% de las ventas de formato físico fueron para los «acetatos» y 44% fueron a su hermano pequeño (el otro 2% se lo quedaron los casetes, que también han hecho un pequeño regreso). Es quizás una sorpresa, aunque una que venía tiempo gestándose, de hecho es primera vez que esto ocurre en el país y en el mundo desde 1987. 

Hay varios motivos. Algunos más bien pasajeros, como la nueva moda de la «tecnología vintage» que revivió también a Kodak y Polaroid, y otros más profundos, como es la mayor fidelidad de las grabaciones sobre las aplicaciones de streaming y el formato digital o directamente el ingreso que significa para artistas y disqueras vender un disco físico por encima de una reproducción. Lo cierto es que poco a poco los datos han mejorado, y el retorno del formato físico ya representa un 11% de los ingresos de la industria musical, lejos de su pico por encima de 50% pero nada mal para un posterior a Napster.

Lo cierto es que hubo varias cosas que ayudaron a dar el último empujón. La desaparición de la bandeja para discos en los nuevos ordenadores y de los reproductores en los coches, la pandemia que ayudó a que la gente pudiese pasar más tiempo revisando su colección y los esfuerzos de la industria como el internacional ‘Día de la tienda de discos’ o de lanzar ediciones especiales de varios colores han ido poco a poco empujando esta industria a su actual renacer. 

EL CD ES MENOS PERSONAL

Lo cierto es que además hay una relación personal entre el oyente y el disco de vinilo que el CD no puede imitar del todo. En el fondo no hay demasiada diferencia entre poner un compacto en un reproductor y poner Spotify a través de unas cornetas con bluetooth, es algo que diferencia al vinilo que puede permitir al artista ser bastante más creativo en cuanto al arte y el material impreso que acompaña la música. Es algo que en España han aprovechado figuras tan variadas como la banda Vetusta Morla o la candidata a Eurovisión Chanel.

Es algo con lo que otros formatos directamente no pueden competir. La relación que el oyente puede generar con sus discos físicos tiene mucho más de experiencia que solo poner la canción que tengamos ganas de escuchar en Spotify o Youtube. Hay también algo de comunidad en la idea de ir a la tienda de siempre a preguntar por un nuevo lanzamiento o una edición especial. Sin embargo, irónicamente, el que las ventas estén mejorando no necesariamente es una noticia que beneficie a las tiendas locales. 

SE VENDE MÁS VINILO PERO LAS TIENDAS SUFREN

Lo cierto es que a medida que el formato ha recuperado su espacio una parte de los compradores se ha mudado a páginas web como Amazon o a comprar en grandes superficies como FNAC o el Corte Inglés. De hecho no es casual que en Madrid ‘Discos metralleta’, una de las tiendas históricas de la capital, haya decidido devorada por sus dos vecinos más grandes en Callao. 

Es un equilibrio complicado. A medida que las ventas de este formato se vuelve a normalizar lo esperado es que los compradores los adquieran en los sitios donde suelen comprar de forma regular. Es una realidad de la que no se puede escapar en estos procesos, pero sí que afecta a las pequeñas tiendas que construyeron su negocio sin tanta competencia cuando eran un producto más bien de nicho. También es cierto que cada vez son más las empresas dentro de la industria musical las que se han sumado a este resurgir.

No es casual que Spotify haya incluido los discos de vinilo entre los ejemplos de la mercancía que los artistas pueden vender a través de su nuevo marketplace. Es que entienden la importancia que tiene para la industria, y que solo con presentarlos allí sirve como rama de olivo para los músicos que suelen quejarse de lo que reciben de la aplicación.  

De hecho si se puede agregar un motivo más para comprar un vinilo es lo que representa para artistas de medio cartel. Ya hace un par de años que Víctor Carmelo Cabezuelo, vocalista de Rufus T Firefly, contaba que podía conseguir en ventas del formato físico de un fin de semana de lanzamiento los mismos ingresos que por varios años de streaming, y esto es ya suficiente motivo para cuidar esta industria.

¿Qué discos de rock fueron los más vendidos en España en 2022?

Sergi Ramos       13/02/2023 https://www.themetalcircus.com/reportajes/discos-mas-vendidos-espana-2022/

Las listas de discos más vendidos se han convertido en una herramienta más de las muchas que existen para entender las dinámicas actuales a la hora de consumir música. Pero ya no son la única herramienta posible.

El rock y el heavy metal siguen siendo géneros con un respetable impulso de compra física -a menudo el coleccionismo sigue moviendo la compra de material físico, ya sean CD’s, vinilos, cajas o ediciones deluxe, etc- pero difícilmente lideran el mercado como podían hacerlo en otros momentos de la historia.

La mayoría de bandas internacionales de heavy metal venden apenas unas pocas cientos de copias en nuestro país, a veces tan solo decenas. Lo mismo sucede en cualquier otro país. Es por ello que, con el ánimo de representar más fielmente la realidad del consumo de música, se han ido incorporando otros métodos de cálculo en la confección de listas de éxitos. El streaming se ha convertido en el método rey de consumo de música, por lo que en la industria de la música se usa una proporción de 1500 streams o 10 descargas digitales de pago como equivalente a la venta de una unidad física de disco. 

Una posición codiciada

Los reconocimientos a las ventas en España se han ido adaptando progresivamente a lo largo de los años y se han dimensionado a la realidad del mercado. Así pues, con 20.000 copias vendidas se consigue el disco de oro, con 40.000 el de platino y con 1.000.000 de copias vendidas se consigue el de diamante. Para los fuera de serie se guarda el disco de Uranio: corresponde a 50.000.000 de copias vendidas, algo que en nuestro país solo han conseguido artistas como Queen, Raphael o AC/DC. Antiguamente, el disco de oro se lograba con ventas de 50.000 copias y el de platino con 100.000 copias vendidas. Artistas como Alejandro Sanz habían logrado alcanzar los 22 discos de platino en sus mejores años, como cuando editó el superventas “Más” en 1997. 

Si bien las discográficas de nuestro mundillo suelen enviar comunicados cuando un artista consigue alcanzar una determinada posición en las listas de ventas, lo cierto es que eso tiene un valor escaso a día de hoy. Calculando bien el momento de lanzamiento de un disco y los competidores que hay esa misma semana en el mercado, se puede lograr un número uno al no tener contrincantes destacados. Es decir, si Taylor Swift edita disco una semana, es muy difícil que un grupo de heavy metal logre alcanzar la primera posición esa misma semana.

Sin embargo, en una semana de un periodo sin demasiados lanzamientos importantes y trabajando muy bien la preventa, se puede conseguir que un grupo “de nicho”, como son los grupos de heavy metal en nuestro país, logre la codiciada primera posición. Si el artista hace una buena campaña de preventa y las “ventas finales” suceden todas en la fecha de lanzamiento del disco, es posible que el disco alcance el primer puesto de las listas por pura aritmética

Visto y no visto

Así pues, es frecuente observar como en las listas de nuestro país aparecen destacados grupos de rock y metal protagonizando respetables puestos en las listas en una semana determinada para desaparecer de ellas a la siguiente semana o irse a parar al número 98. Grupos con cifras respetables pero humildes respecto a los colosos de la música latina, reggaeton, trap o artistas en lengua española en general logran rutinariamente colarse en las listas pero sin mayor recorrido. Es por ello que es mucho más realista observar cual es el Top 100 Anual de discos más vendidos en nuestro país.

Poco sorprendentemente, las listas oficiales de Promusicae no reflejan la total realidad de la venta de discos, pero ofrecen pinceladas. Así pues, es posible que si compras un disco en la tienda Pentagram de Barcelona, tu compra no se refleje en las listas porque dicha tienda no reporta a Promusicae. Algo que suele estar limitado a grandes superficies como Fnac o El Corte Inglés.

En cualquier caso, hoy en día uno puede comprar los discos en Amazon y no estar comprándoselo al almacén de la distribuidora española de turno, sino a una extranjera, de modo que la venta tampoco cuenta. Y, del mismo modo, algunas tiendas de discos optan por distribuidores como el holandés Bertus para comprar referencias de distintas distribuidoras a la vez de manera más cómoda. Bertus sería el equivalente a comprar aceitunas de Aldi, Hummus del Mercadona y yogures de Lidl en una misma plataforma.

Adicionalmente, muchos metalheads compran a través de las webs de la discográfica o incluso en el puesto de merchandise del propio grupo cuando viene de gira, lo cuál contamina aún más los resultados.

Con un poco de margen

Dicho sea todo esto, tomemos con un poco de perspectiva los resultados del Top 100 Anual que arroja la web ElPortaldemusica.es , la web oficial a través de la que Promusicae muestra semanalmente cuáles son los lanzamientos más exitosos en España.

En 2022 no hubo una gran cosecha para el rock. De manera muy coherente con la realidad musical de nuestro país en 2022, el listado anual está encabezado por los lanzamientos de Bad Bunny (“Un Verano Sin Ti” se pasó 34 semanas del año en las listas, alcanzando el quíntuple disco de platino, o lo que es lo mismo 200.000 unidades equivalentes vendidas), Rosalía (“Motomami” pasó 41 semanas en lista, alcanzando el doble disco de platino) y C. Tangana (su disco de 2021 “El Madrileño” estuvo 96 semanas en las listas, siendo doble disco de platino). Las primeras posiciones están completadas por Harry Styles, Rauw Alejandro, Sebastián Yatra, Bad Bunny, Manuel Carrasco, Taylor Swift y Mora. La música cantada en nuestro propio idioma reina en las listas españolas, sin duda. 

C. Tangana (Foto: Lolo)

Nos tenemos que ir hasta el puesto número 18 para encontrar a un artista donde las guitarras jueguen un cierto papel. Es el caso de Leiva y su “Cuando te Muerdes el Labio”, editado en 2021. Lo mismo sucede con “Cada Vez Cadáver” de Fito y Fitipaldis, que pese a haber sido editado en 2021, acumula ventas en 2022 suficientes para quedarse en el puesto 21 de los más vendidos. 

Más abajo en la lista, el ‘boss’ Bruce Springsteen alcanza el puesto 32 de la lista de 100 más vendidos en el año 2022, sin alcanzar el disco de oro oficialmente y con tan solo siete semanas en las listas, ya que el disco fue editado el 11 de noviembre del 2022. En el número 40 se cuelan Marea con su reciente “Los Potros del Tiempo”, editado poco antes de acabar el año. Bandas de “rock” como Imagine Dragons  se quedan en el puesto 45 con “Mercury-Act 1”

Más cerca de “nuestro rollo” encontramos el disco homenaje a Triana “Llegó el Día”, el más reciente trabajo de Medina Azahara, que ha pasado unas sorprendentes 26 semanas en las listas de venta y se queda en el puesto 56 de los más vendidos del año 2022. Robe se cuela en las listas con “Mayéutica” en el puesto 78, mientras que Red Hot Chili Peppers alcanzan el 83 con “Unlimited Love” y Maneskin alcanzan el 84 con “Teatro d’Ira” tras 77 semanas en lista y siendo la banda de rock más mainstream de la actualidad. 

En terrenos netamente metálicos, Rammstein se quedan en el puesto 93 con “Zeit”, tras 16 semanas en lista. 

Comparativamente hablando, en 2021 alcanzaron el Top 100 más artistas de rock y metal, con Iron Maiden (en el 23 con “Senjutsu”, que fue número uno en la semana de su lanzamiento), AC/DC (puesto 51 con “Power Up”), Måneskin (52 con “Teatro d’Ira), Héroes del Silencio (puesto 80 con “Héroes: Silencio y Rock & Roll”) y Queen (en el 84 con la BSO de “Bohemian Rhapsody”). 

El poder del vinilo

Pero hace tiempo que los lanzamientos físicos dejaron de ser el vehículo más conveniente para transportar la música, desbancados absolutamente por la ubicuidad del streaming. Sin embargo, muchos de los que compran música en soportes físicos lo hacen por coleccionismo y, si de coleccionar música se trata, el vinilo es el soporte rey. Majestuoso en su presentación y mucho más cálido en su sonido, los rockeros prefieren éste formato para coleccionar las obras de sus artistas favoritos. Así pues, si observamos el Top 100 de Vinilos más vendidos en España en 2022, que refleja mucho mejor la venta física pura al no entrar en ponderaciones de streamings y digital, encontramos a más artistas afines a nuestro mundillo.

Pese a que los primeros puestos siguen copados por Rosalia, Harry Styles, Taylor Swift, C.Tangana y Pablo Alborán (esos vinilos “regalo” pesan mucho), si que encontramos más arriba a Bruce Springsteen (“Only the Strong Survive” en posición número 10), Fito y Fitipaldis (“Cada Vez Cadaver” en el puesto número 14), Red Hot Chili Peppers (puesto número 16 con “Unlimited Love”), Ghost (un respetable puesto 27 con “Impera”), Måneskin (en el 29 con “Teatro d’Ira), Robe (“Mayeútica” en el puesto 31), Marea (un puesto 35 con “Los Potros del Tiempo” en poco tiempo), Loquillo (38 con “Diario de una Tregua”), Miguel Ríos (puesto número 40 con “Rock and Rios” en su edición 40 aniversario), Ilegales (puesto 42 para “La Lucha Por La Vida) o Muse (en el 44 con “Will of the People”).

Maneskin

Más allá están Pink Floyd (puesto 46 para la reedición 5.1 de “Animals”), Pearl Jam (el recopilatorio “Rearviewmirror” se queda en el 55), M Clan (el puesto número 60 con “En Petit Comité”), Medina Azahara (en el número 61 con “Llegó el Día”), AC/DC (en el 67 con “Power Up” del año 2020), Toundra (en el 70 con “Hex”), Iron Maiden (“Senjutsu” en el 71), Héroes del Silencio (en el 73 con “En Directo” y el 78 con “Héroe de Leyenda), Scorpions (puesto número 80 con “Rock Believer”), Rammstein (82 con “Zeit”), Ozzy Osbourne (puesto número 98 con “Patient Number 9”) y Alice in Chains (en el número 100 con “Dirt”). 

En resumen, el público del rock y del metal sigue siendo mucho más cercano al vinilo que al CD. Y si la ponderación nos pone junto a artistas de otros géneros populares en nuestro país, nuestra música sigue siendo cuasi marginal en lo que a ventas se trata. Pero a la hora de la verdad, Iron Maiden pueden vender 47.000 entradas en un estadio de nuestro país y no vender ni un 10% de esa cantidad en copias físicas de su disco más reciente de estudio. Otros como Red Hot Chili Peppers pueden convocar a casi 100.000 personas en dos fechas de estadio pero no alcanzan unas ventas que den ni para el disco de oro. Son las diferentes caras del rock en unas dinámicas de consumo musical que responden a factores generacionales y de conveniencia mucho más que en otros estilos. 

Honky Tonk, la apuesta kamikaze por el vinilo


BEGOÑA R. SOTELINO
VIGO / LA VOZ https://www.lavozdegalicia.es/noticia/vigo/vigo/2023/02/10/honky-tonk-apuesta-kamikaze-vinilo/0003_202302V10C8991.htm

No le importó nada a Samuel González Massó abrir una tienda de discos en plena decadencia del vinilo, una caída en picado paralela al ascenso y ebullición del cedé. Fue un visionario de horizontes lejanos. Desde el principio tuvo claro que esa batalla de formatos sonoros la ganaría el formato analógico. Solo había que esperar, y no tenía prisa porque en Honky Tonk (Falperra, 18)estaba en su salsa, rodeado de cientos de ejemplares de sus mágicos objetos favoritos, platos giratorios surcados por líneas que contienen música.

El vigués comparte afición con otros compañeros —muchos de ellos músicos— que pasaban tanto tiempo con él en el local que al final acabaron contratados cumpliendo jornada laboral. Óscar «Pelda», Pablo o Iván fueron algunos de esos dependientes tras el mostrador que hace seis años atiende Kino Seoane turnándose con Samuel.

Kino, que ha tocado la batería en bandas como Os Resentidos, Skacha y Transilvanians, siendo cofundador de las dos últimas, es otro adicto a las 33 revoluciones por minutos.

Honky Tonk, que podría haber sido escenario de películas como Alta fidelidad o Empire Records, conserva ese poso de tienda de discos de los 90 con algo de club social donde la clientela tiene el espacio justo para pasar entre cajones llenos de ejemplares ordenados por géneros musicales. Los compradores se dividen entre los prácticos que van a tiro fijo y los románticos que se entretienen buceando hacia adelante y hacia atrás como buscadores de tesoros esperando dar con la sorpresa en el siguiente movimiento de los dedos. Y a veces, llega. Esa sensación es la que no se consigue comprando discos por internet, por eso siguen tiendas como esta viguesa, que sopló las velas de su 25 aniversario el año pasado.

«Nese intre no que abriu non había tendas que apostasen polo vinilo. Estaban en retirada e Samuel foi un pouco kamikaze, pero funcionou e viuse que pasou como con todas as modas, que son cíclicas. E pode que marche de novo, pero volverá», vaticina el músico, que alaba un formato perdurable en todos los aspectos. «Se os cuidas, son eternos. Nós temos na tenda exemplares usados dos anos 50, 60 o 70 e están perfectos. Estéticamente é indiscutible que son mellores que o cedé; a nivel do son depende do tipo de gravación, e como obxeto para fetichistas, pois non hai comparación», afirma.

El regreso del vinilo trajo una recuperación de un público que había desaparecido y al que a veces es difícil dar de comer porque quedan muy pocas fábricas de discos para abastecer tanta demanda repentina. «Seguían con nós os coleccionistas e os nostálxicos como nós, que somos os primeiros», reconoce. Pero advierte que también se acerca ahora gente que está 

descubriendo ahora el disco, no solo jóvenes; y los arrepentidos, los que se pasaron al cedé, se deshicieron de sus colecciones y ahora tratan de recuperarlas. Seoane opina que el momento álgido del retorno y la locura por el vinilo ya pasó, «pero se nota que crecemos. Temos moitas máis visitas», admite.

El músico y discoadicto recuerda que la tienda viguesa está ubicada a escasos metros de la famosa fuente de la Falperra formó parte, en el ecuador de su historia, de un entramado de comercios alternativos de ropa y copas que llevó a ser conocida como el Portobello vigués. Ellos fueron los supervivientes, pero desde el año pasado les acompaña dos portales más abajo Río Lagares, otro establecimiento que también despacha vinilos y funciona como local cultural con exposiciones y eventos literarios y artísticos.

Honky Tonk ha albergado conciertos. No muchos, por falta de espacio, pero, por ejemplo, sí durante las celebraciones delRecord Store Day, evento que ha contribuido a la recuperación del formato con ediciones especiales. La tienda viguesa ofrece a los consumidores discos de reciente fabricación junto a piezas de segunda mano. La compraventa sigue funcionando, pero en su caso se decantan por los estilos que más trabajan (rock and roll, soul, folk americana, jazz, latin o cantautores), sin descartar nada a priori, ya que todos los gustos son respetables, pero hay géneros como la copla, la zarzuela o la música clásica que no tienen cabida en este local donde, además, despachan entradas para conciertos, libros, grabaciones musicales y también algunas señeras revistas de música de segunda mano. Junto en un momento en que la edición de publicaciones especializadas en papel también está en retroceso.

Desde 1997

Dónde está

Calle Falperra, 18, Vigo.

Record Store Day’s Behind The Counter documentary peeks behind the vinyl store curtain

By Harry McKerrell

Source: https://www.whathifi.com/news/record-store-days-behind-the-counter-documentary-peeks-behind-the-vinyl-store-curtain

Season Four continues to celebrate the heritage of the bricks-and-mortar record store

Vinyl has continued its startling comeback to become one of the most popular media formats around. Despite a low point in sales during the dark days of 2013, vinyl is once again the music aficionado’s medium of choice, outselling physical CDs in the UK for the first time in 35 years(opens in new tab) according to the ERA.

To celebrate the format’s continuing mainstream popularity, online documentary series Behind the Counter, produced as a collaboration between Record Store Day, Classic Album Sundays and Bowers & Wilkins, has returned for a fourth series looking at the finest independent vinyl distributors facilitating this continued resurgence.

The 12-part series returned this year on January 31st, celebrating once more the vendors and enthusiasts who continue to push the startling rejuvenation of a once-threatened format. New episodes have already been released, with the twelve-part series running weekly ahead of this year’s Record Store Day on April 22nd. Dropping every Tuesday at 10am GMT, each instalment can be watched on Facebook, Instagram, Twitter or YouTube.


Series four features the following diverse array of stores: 81 Renshaw, Liverpool; The Vinyl Whistle, Leeds; Voxbox, Edinburgh Music From Big Blue, Glasgow; Sister Ray, Soho; Sound Records, Stroud; Vinilo Record Store, Southampton; Ventnor Exchange, Isle Of Wight; Winyl, Manningtree; Soul Brother, Putney; Starr Records, Belfast; Truck Store, Oxford.

Behind The Counter clearly demonstrates that the appetite for a personal connection to the music we buy has only grown during this impersonal age of limitless streaming, digital downloads and other non-physical formats. “I don’t think a community exists unless it’s got a record shop in it,” claims Ian Smith, owner of Music From The Big Blue in Glasgow, one of the stores showcased in the series.

The show’s official partners, British audio heavyweights Bowers & Wilkins, are firmly in agreement: “We have loved watching the popularity of vinyl continue to grow,” said Giles Pocock, Vice-President of Brand Marketing at B&W. “It’s such an important format and we deeply value the unique role that independent record stores play in bringing these records to music fans.”

Inside the Unlikely New Record Shop That sells to the Stars

The Greenwich Village record store,

owned by a one-of-a-kind NYC character,

stocks the shelves of Lana Del Rey,

Rosalía, Bella Hadid, and more.

By Sim Tumay

February 15, 2023

When a 20-year-old Jamal Alnasr moved to New York City in 1990, he barely

spoke English and only knew the names of 10 artists, like Madonna and

Boney M, whom he’d heard on the radio. A native Palestinian, he arrived in

the city after a few years spent living in Jordan as a teenager. He used music

to teach himself English, then landed his first job at a record shop on

Bleecker Street in Greenwich Village, where he read CD pamphlets, learned

lyrics, and researched artists’ influences. After four and a half years, he

opened up his own shop, Village Music, down the street, with the money he

had saved from working.

On opening day, Alnasr decided to put his collection of rare records up for

sale, and made $5,000. “If people came in and meant to spend $20, they

would spend $200,” he recalls. “I had a lot of rare stuff.” Word eventually got

out that he was the man to see if you were looking for an impossible-to-find

record. Upon receiving a request, Alnasr would raise his eyebrows and tell

people to come back in four days, when he would undoubtedly have the

record packaged up and waiting in the back room.

Even with this personal touch, Village Records eventually met the same sad

fate as so many downtown music stores. In 2017, Alnasr could no longer

afford his rent—which he says went up from about $160 in the ’90s to $5,000

—and shuttered the shop. “I was broke as hell,” he admits. He went back to

Palestine and sold some real estate his father had owned. When he returned

to New York, he met a sympathetic landlord and opened Village Revival

Records next door to his old shop. “I want to revive the Village because I’m

really scared of change,” he says of the store’s new moniker. “I want to

rebuild the ’90s.”

Over the last few years, the humble shop has become an unlikely magnet for

stars such as Rosalía and Lana Del Rey, who are devoted customers. Bella

Hadid didn’t have a record collection before she met Alnasr at Village

Revival. An unlikely friendship soon formed between the 53-year-old store

owner and the 26-year-old supermodel, who bonded over their shared

Palestinian heritage and love for music. Hadid was interested to learn more

about Alnasr’s journey to America, he says, and soon brought her mother,

father, and sister Gigi to the shop. One night, Alnasr went to dinner with

Hadid and her boyfriend at the nearby Minetta Tavern, where he gave the

couple a turntable. “Now you guys are going to party tonight,” he told them.

Last year, Hadid posted a series of photos of Alnasr and the shop on her

Instagram: shots of the two embracing, browsing the stacks, and eating

dinner together, as well as images of albums by the Rolling Stones, the

Animals, and one called Palestine Lives! Songs From the Struggle of the

People of Palestine. “Please go visit my friend Jamal,” she wrote in the

caption, accompanied by heart and Palestinian flag emojis. “All welcome,

records for everyone!!!!”

In the early days of her career, Lana Del Rey lived in Greenwich Village. She

was a regular at Village Records, where she purchased albums by Billie

Holiday, Ella Fitzgerald, and Nina Simone. “She was a very shy person in the

beginning but she is very down to earth once she feels comfortable with

you,” says Alnasr. Near the shop’s backroom, Alnasr keeps a locked glass

cabinet of autographed records. To the left of Bruce Springsteen and Bob

Dylan sits a vinyl of Lana’s 2012 debut, Born to Die, signed “To Village Music

and Jamal, lots of love.”

Alnasr’s lack of filter and stubborn sensibility give Village Revival a gritty,

old-school New York charm. The week of his birthday, Alnasr was blasting

“Disco Inferno” in the shop, coming off a high from going to a nightclub for

the first time in several years. His is perhaps the only record store left in

Manhattan where you are likely to find the owner smoking a cigarette

behind the counter.

Alnasr has a habit of turning patrons into friends. A question about a

particular Rolling Stones album might lead unexpectedly to an hour-long

conversation about the influence of American blues musicians on the

British band’s work. From there, Alnasr may pull out some records from the

backroom, where he keeps his most prized and unusual finds. Soon enough,

a customer might find themselves, like Hadid, having dinner with him.

Dave Davis, the trombonist of the Sun Ra Arkestra, began his friendship

with Alnasr two years ago, over a conversation about rare big-band jazz

records. Alnasr, who used to see the Arkestra play in his early days as a New

Yorker, immediately connected with Davis, a Philadelphian who stops by

the store whenever he visits the city. Davis collects 78 RPM records, a format

developed in the late 19th century that was commercially obsolete by the

1950s, still highly prized by some collectors but not stocked in many shops.

“He is the only one I’ve found in New York who still believes in those,” Davis

says of Alnasr. “I travel a lot, and when you go record shopping, you can

pretty much conquer a record store, and it stays the same,” Davis continues.

“But the one thing about his record store is that it doesn’t stay the same. He

is constantly getting new records.”

Davis and other artists also value Village Revival as a place to meet and

network with fellow musicians and industry professionals. Chris Pizzolo,

founder of the boutique label Immediate Family Records, once walked into

the original store after playing guitar at a blues jam at the Bitter End down

the street. He walked out with a copy of Alabama Shakes’ Boys and Girls and

a new friendship with Alnasr, who’d been playing the album over the

soundsystem. Alnasr soon invited Pizzolo and his band to perform in the

store, which eventually became a regular gig. Pizzolo often came to Alnasr

for guidance, especially after he decided to start his own label. The record

store owner’s advice: print more vinyl.

Immediate Family Records was recently nominated for its first Latin

Grammy: a Best Contemporary Tropical Album nod for the Pedrito Martinez

Group’s 2021 release Acertijos. “It’s cool because I started going there in my

early 20s, and now I’m in my mid-30s, and he still stays there and gives

everyone the same opportunity,” Pizzolo says.

Pizzolo introduced his peers to Alnasr and Village Revival, including singersongwriters

Cody Simpson, whom Pizzolo manages, and Sizzy Rocket,

whose album Anarchy Pizzolo helped to release. “Jamal’s shop is truly a

oneof-

a-kind experience,” says Simpson. “It’s a treasure trove for music lovers.”

Rocket first met Alnasr in 2021, when Village Revival hosted a meet-andgreet

for her fans before a performance nearby. “It was just the perfect spot,

because the store is small and intimate,” Rocket says. “I walked in, and he

already had my music playing and the videos going. It was just very

welcoming.”

If any customer, celebrity or otherwise, goes into Village Revival looking for

a particular record, Alnasr will do his best to find it for them. He sources

many records from personal collections he purchases, sometimes from

other industry professionals who have died or moved away. He recalls a

customer who had worked in music journalism who once called him about

selling him a prized rare find: an early pressing of The Velvet Underground &

Nico. “I don’t find them, they find me,” he says.

“There are probably 200,000 records in that store, but the craziest thing is

that he knows where everything is,” Pizzolo says. “You could ask for a rare

Édith Piaf bootleg from the ’60s that someone made in France, and he’s got

it cataloged somewhere.”

A 74-year-old customer and lifelong resident of the neighborhood named

John Deglialberti fondly recalls an instance when Alnasr helped him find a

copy of the 1962 album Sinatra and Strings, which Deglialberti was having

trouble locating elsewhere. “When I hear these songs, it brings back a lot of

memories,” he says. “Not only for myself, but also for friends of mine.”

Alnasr’s shop has evolved over the years, but he remains committed

to his

mission to revive the bohemian spirit of Greenwich Village’s past. “I will not

change what I do,” he says. “It’s my love.”

Improved production times

After a significant period of long production times we’re happy to inform you there’s light at the end of the tunnel.

As you may have heard, we have purchased brand new Pheenix Alpha presses to expand our capacity, which we are installing as we speak and putting them into production one by one. As a result of that, our current production time for 12” is now back to four months for re-orders and finished product after approval of testings (8 weeks for 7”). Testings take four weeks. We expect to improve even more on these turnaround times soon as we continue to expand our production the following months. Please contact RI for an update, also if you need us to work a miracle . 

Looking forward to receive your orders, please don’t hesitate to contact us with any questions or to request a tailor made quote.

Best regards,

Yann

Vinyl outsells PlayStation in the UK

Vinyl outsells PlayStation in the UK to become the second biggest selling physical format

Source: Aimee Ferrier WED 14TH SEP 2022 11.15 BST https://faroutmagazine.co.uk/vinyl-outsells-playstation-in-the-uk/

Over the past decade, there has been a resurgence of music lovers buying albums on vinyl, and in 2021, the medium’s sales were the highest they have been in 30 years. 

The Entertainment Retailers Association (ERA) found that vinyl has earned $80.9million in profits so far in 2022, a stark increase from this time last year when vinyl made $72.1million.

The British Phonographic Industry found that over five million vinyl records were sold last year, which shows an eight per cent increase from 2020. 

The biggest selling vinyl records of 2021 were ABBA’s Voyage30 by Adele, and Sam Fender’s Seventeen Going Under.

The ERA also found that vinyl is outselling CD, which has had a decrease in sales by 8.1 per cent this year, as well as PlayStation games, despite having a 6.5 per cent year-on-year climb. However, vinyl has only been beaten by Nintendo Switch games, despite the fact that their sales have been down 12.5 per cent year on year. In comparison, vinyl is up by 12.2 per cent. 

ERA CEO Kim Bayley states: “Vinyl’s rise and rise seems unstoppable. For a 74-year-old analogue format to eclipse the digital-age technology of games platforms is quite extraordinary. Ten years into its long climb back to favour, the vinyl revival is most definitely here to stay.”

El vinilo resiste a las plataforma de música online

https://imasdk.googleapis.com/js/core/bridge3.528.0_en.html#goog_563630632Play Video

Foto: redaccion  |Vídeo: Telemadrid

06 de septiembre de 2022 – 23:34 (Actualizado: 06 de septiembre de 2022 – 23:34)

Los discos de vinilo han resurgido en los últimos años gracias a que ofrecen una experiencia de uso más completa y presenta un sonido cálido por la grabación analógica insertada en sus surcos. La tienda Nakasha Discos es un fiel ejemplo de que el vinilo nunca se fue. Durante más de 30 años esta tienda ha sido la auténtica referencia a la hora de que todos los públicos comprasen vinilos. Daniel, el regente de la tienda, destaca que hay compradores desde los 12 años que buscan adentrarse en el mundo del vinilo.

“El comprador apuesta por ello porque el vinilo siempre ha estado presente. Para un coleccionista todas estas piezas tienen un gran valor. Escuchar un buen vinilo es crear un ambiente mágico para toda la gente que alguna vez se ha parado a disfrutar de una canción”, afirma Daniel.

Los vinilos viven una nueva edad dorada

Los vinilos viven una nueva edad dorada

Por su parte, Promusicae tasa en 1,6 millones las unidades vendidas en España, donde se llega a acumular 25 millones de euros. Estamos hablando de un 32 % más que el año anterior y también se produce un aumento en los últimos años.

Best vinyl record cleaners 2022: Keep your vinyl collection in prime condition

By Paul Dimery published February 23, 2022

Source: https://www.loudersound.com/features/best-vinyl-record-cleaners

Give your music collection a makeover with our pick of the best vinyl record cleaners you can buy today.

If you love collecting vinyl, then having grubby grooves just won’t do. After all, what’s the point in spending a fortune on a Beatles LP, only for it to sound like Paul McCartney’s singing with his head flushed down the toilet. The best vinyl record cleaners can free you of such problems, working to return your precious albums and singles to almost shop-fresh condition. 

In this guide, we’ve picked our favourite vinyl-cleaning products to help you make a buying choice that suits your needs and budget. Here, you’ll find everything from crap-busting cloths to gadgets that’ll work with your vacuum cleaner to literally suck your records clean. Intrigued? Then step this way to see our list of recommendations.

BEST VINYL RECORD CLEANERS: THE LOUDER CHOICE

If you’re serious about vinyl, you’ll be no stranger to spending big on your hobby. Expensive first pressings, top-quality turntable… you’ll no doubt have the lot. So, you probably won’t mind shelling out on the Pro-Ject VC-E, a snazzy, suction-based contraption that looks a bit like a record player but cleans your discs rather than playing them. Place your vinyl on the platter and within two rotations, it’ll be shinier than a horse’s hair. A word of warning, though, this thing looks so cool, it might get more attention than your turntable itself.    

The word fudge conjures up images of kids dropping their sticky crumbs all over your car seats, so, why would you want something called the Big Fudge Record Care System? Well, because Big Fudge is just the name of the company and it manufactures a whole range of premium vinyl supplies, shipping them all over the world. This particular kit comprises two high-quality brushes (one for your records and another for your stylus) and some cleaning fluid, meaning you’ll easily be able to rid your discs of debris – even fudge crumbs.

BEST VINYL RECORD CLEANERS: PRODUCT GUIDE

1. Pro-Ject VC-E

This contraption sucks… except it doesn’t!

SPECIFICATIONS

Launch price: $499/£349

Weight: 6.5kg

Type of cleaner: Electronic suction machine

Single/multi-use?: Multi

TODAY’S BEST DEALS

View at Amazon

Check Thomann

REASONS TO BUY

+

Cleaning is super-fast+

Sturdy build

REASONS TO AVOID

Top end of the price scale

Seeing as it specialises in high-end turntables, you’d expect Pro-Ject Audio to care about vinyl maintenance. And, as you would expect, the UK firm has really pushed the boat out with its VC-E compact record-cleaning machine – a device that’s more expensive (and a damn sight more stylish) than a lot of actual record players. 

Built from sturdy aluminium, the Pro-Ject VC-E is an electronic gadget that rotates records at 30rpm while powerfully sucking any gunk from within the grooves (cleaning fluid is recommended). Out of the box, it only works with 12-inch records, but an adaptor for 45s is due to be released in the near future.

Oh, and you needn’t worry about the Pro-Ject VC-E running up your electricity bill, as it only takes one or two spins to get the job done.

2. Big Fudge Record Care System

An all in one kit that’ll clean your records no problem at all

SPECIFICATIONS

Launch price: $25.95/£24.50

Weight: 221g

Type of cleaner: Brushes and solution

Single/multi-use?: Multi

TODAY’S BEST DEALS

View at Amazon

Check Thomann

REASONS TO BUY

+

Great-quality brushes+

Cleaning fluid included+

Bag allows for easy storage

REASONS TO AVOID

Similar kits cost less

Launched back in 2016 by two record enthusiasts, Big Fudge now ships its premium vinyl supplies – including cleaning kits, sleeves and storage racks – to audiophiles worldwide. Their Record Care System is an all-in-one solution that includes an anti-static velvet cleaning brush, a smaller stylus brush, a 50ml bottle of alcohol-free cleaning fluid and a handy bag for keeping everything together.  

It’s all very easy to use, and the results the package delivers are great – just ask the 13,000 consumers on Amazon who’ve combined to give Big Fudge’s little cleaning kit a rating of 4.7 out of five.

3. Boundless Audio Record Cleaning Kit

This stylish vinyl cleaning set is much more than just a pretty face

SPECIFICATIONS

Price: $22.95/£23

Weight: 59g

Type of cleaner: Brushes

Single/multi-use?: Multi

TODAY’S BEST DEALS

Check Thomann

Check Amazon

REASONS TO BUY

+

High-quality carbon-fibre bristles+

No need for cleaning fluid+

Contemporary design

REASONS TO AVOID

Electronic kits may be more effective

The Boundless Audio Record Cleaning Kit catches the eye with its classy packaging, but its appeal is much more than skin-deep. Inside the box, you get two brushes – one for your vinyl and another for your stylus – both of which are made from premium carbon-fibre bristles that help to remove even the most stubborn dirt. The brushes are electrically conductive, too, meaning they’ll be able to eliminate static in a matter of moments.

Fitted with ergonomic, easy-grip handles, these brushes can be wielded with precision, ensuring you won’t leave your equipment looking battered and bruised. And neither will there be any spillages, since this kit is dry-clean only.

4. Crosley Groove Goo

A mean, green cleaning machine

SPECIFICATIONS

Price: $9.99/£7.50

Weight: 160g

Type of cleaner: Slime

Single/multi-use?: Multi

TODAY’S BEST DEALS

Check Thomann

Check Amazon

REASONS TO BUY

+

 Simple and convenient+

Grime can be rinsed off

REASONS TO AVOID

Feels weird letting this stuff loose

It may look like a massive lump of snot, but the green stuff in this tub is actually very adept at cleaning vinyl. Made by Kentucky’s Crosley Radio (which also manufactures turntables, by the way), Groove Goo is essentially a blob of slime that you gently roll over your records to safely remove dust and debris. Despite it having the consistency of a blancmange, it somehow manages to do all of this without leaving any residue.    

What’s more, Groove Goo gives off a fresh scent that serves to eliminate stale odours – ideal if you’re trying to renovate those musty old 78s that your grandpa’s had stashed away in his attic.

5. Vinyl Vac 33

Well worth getting the vacuum cleaner out for

SPECIFICATIONS

Price: $30/£47.50

Weight: 109g

Type of cleaner: Vacuum

Single/multi-use?: Multi

TODAY’S BEST DEALS

View at Amazon

Check Thomann

REASONS TO BUY

+

high-quality carbon-fibre bristles+

No need to use cleaning fluid

REASONS TO AVOID

Electronic devices may be more effective

Planning to vacuum the living room and stairs? Well, why not give your records the once-over while you’re at it. Yes, the Vinyl Vac 33 attaches to the hose of your wet/dry vacuum cleaner (1.25” or 1.5” size), meaning you can suck up that groove grit while dancing around like Freddie Mercury in Queen‘s I Want To Break Freevideo.     

Simply place your vinyl on an unplugged turntable, hook the Vinyl Vac 33 up to your vacuum and then set it to work on that dastardly debris (the device is fitted with velvet padding to protect your discs). Finish off with a rinse, and – voila! – your records will look as clean and shiny as your laminate floor.

6. CGOLDENWALL Record Washing Machine

A sound investment for those with a large vinyl collection

SPECIFICATIONS

Price: £520/$589

Weight: 5.2kg

Type of cleaner: Ultrasound

Single/multi use: Multi

TODAY’S BEST DEALS

View at Amazon

Check Thomann

REASONS TO BUY

+

Does a thorough job, quickly+

Enables you to clean 4 records at once

REASONS TO AVOID

Hefty price tag

Emitting very high-frequency waves that are undetectable by the human ear, ultrasound devices are used for a variety of purposes, from scanning pregnancies to training dogs. You can even get ones that clean vinyl records. This one uses a combination of ultrasonic vibration, water and solvent to scrub up 12-inch and seven-inch discs, getting the job done in anywhere between 90 seconds to 10 minutes.

Able to clean up to four records at once, this machine is a great option for people who have a big collection they want to clean. And records aren’t all it can do – throw anything from jewellery to dentures into its stainless steel basket, and they’ll come out looking the bee’s knees.

7. Knox Vinyl Record Cleaner Spin Kit

Spin those discs right round, baby, right round

SPECIFICATIONS

Price: £45/$60

Weight: 454g

Type of cleaner: Spin wash

Single/multi use: Multi

TODAY’S BEST DEALS

Check Thomann

Check Amazon

REASONS TO BUY

+

No power required+

Comes with a drying rack+

Can clean 10-inch records

REASONS TO AVOID

Loads of different components

This spin-wash system doesn’t require power or installation – just add water and some of the provided cleaning fluid, rotate your discs manually and brushes contained inside the gadget will get to work on that ingrained grit and grime. Simple it may be, but this little device does a mighty fine job of getting records back into tip-top condition. 

The Knox Vinyl Record Cleaner Spin Kit is capable of cleaning seven, 10 and 12-inch records, and handily comes with a drying rack, meaning there’s no need to leave your freshly rinsed records lying around on the kitchen table.

8. Fasmov Vinyl Record Cleaning Brush

A cheap and cheerful way of keeping your vinyl tip-top

SPECIFICATIONS

Price: $16/£12

Weight: 91g

Type of cleaner: Brush

Single/multi use: Multi

TODAY’S BEST DEALS

Check Thomann

Check Amazon

REASONS TO BUY

+

No fuss+

Wooden handle+

Cheap

REASONS TO AVOID

Might struggle with ingrained dirt

The kits and contraptions that we’ve featured on this list will do a great job of deep-cleaning your vinyl, but if your records are just a little dusty, then something simpler might be called for – something like the Fasmov Vinyl Record Cleaning Brush. Looking a lot like one of those brushes that barbers use to lather on the shaving foam, this little device combines a solid-wood handle with a mane of soft hair to give you a cleaning solution that’s as stout as it is simple. 

It’s probably fair to say that this brush won’t remove more stubborn detritus, but if you want something that’ll sweep away those lighter particles, then this handheld gadget has got your back.

BEST VINYL RECORD CLEANERS: BUYING ADVICE

There are a few things to bear in mind when shopping for a vinyl record cleaner. First up, how mucky are your records? If they’re just sprinkled with a bit of dust, maybe a dandruff flake or two, then a cloth or soft brush will be adequate. However, if your disc is properly dirty, with grime clogging up your grooves like lorries in the Channel Tunnel, then you’ll either need a brush with stiff bristles, or a machine/gadget that’ll provide a much deeper clean. 

It’s also possible to buy slime-like products such as the Crosley Groove Goo, which can be rolled around your record, picking up bits of debris as it goes – and without leaving a sticky mess behind.   

If the product you’re looking at requires you to use a cleaning fluid, then check if it’s packaged with some. Cleaning fluid isn’t especially expensive to buy separately, but if you’re on a tight budget then it’ll help if you get some thrown in as part of the price. 

Note, that using any old cleaning fluid isn’t advised, so put that bottle of toilet bleach away right now. Speaking of cleaning fluid, if you’re not careful you could easily spill some on the label in the middle of your record. To avoid such misery, you might want to buy a label protector – they’re cheap as chips and easy to put on/take off. Some products, including the Boundless Audio Record Cleaning Kit featured in this guide, come with one included. 

Discos Amsterdam cumple 40 años 

Source: Á. Devís , https://valenciaplaza.com/discos-amsterdam-cumple-40-anos-aguantando-los-vaivenes-de-la-industria-musical

LA MÍTICA TIENDA DE NUEVO CENTRO LO CELEBRA CON DOS CONCIERTOS 
Discos Amsterdam cumple 40 años aguantando los vaivenes de la industria musical.

Juan Vitoria, en Discos Amsterdam, en una foto de archivo. Foto: KIKE TABERNER

VALÈNCIA. Discos Amsterdam, la mítica tienda ubicada en Nuevo Centro, cumple 40 años. Para muchos, una parroquia de la música grabada, que presume de pasado, presente y futuro en la celebración de esta efeméride. Juan Vitoria contesta al teléfono emocionado de poder hablar de su tienda, lleva haciéndolo todo este tiempo, defendiéndola: “Hemos intentado que más que una tienda sea un club que recogiera los intereses de las personas a las que le gustaba la música, intercambiar, hablar…”, explica. Él, junto a Margarita González primero, y Miguel Ángel Galán a partir de un par de años después, han capitaneado (y ya avisan que no tienen pensado dejar de hacerlo) todo este tiempo el barco, que ha navegado olas y marejadas.

En diciembre de 1982 abrieron el local, en la misma ubicación que la actual, y desde entonces no han dejado de despachar discos. A los pocos años, empezaría la fiebre del bacalao, otros después los del pop más comercial, y todo el viaje de las diferentes etiquetas que ha tenido el post-punk. A todo ello se ha resistido Vitoria con un criterio editorial muy concreto y reconocible. Desde él ha construido la parroquia de Discos Amsterdam, con la que se verá las caras en dos fiestas para celebrar los 40 años. La primera, el 1 de octubre en Loco Club, será la noche de Petit Mal, Star TripLa Gran Esperanza Blanca y los jovencísimos Platz; la segunda, el 12 de noviembre en 16 Toneladas, será el turno de Hank IdoryLos RadiadoresBadlandsSerie B y Carolina Otero & The Someone Elses. Todos los grupos llevarán una versión inédita prepara de artistas como Neil Young, The Velvet Underground, The Beatles, The Rolling Stones, David Bowie, Lou Reed, The Kinks, Pixies, Teenage Fanclub, The Clash o The Who. “Cuando hicimos las primeras fiestas de aniversario aún no había abierto 16 Toneladas. Fue Margarita la que me animó a no montar uno, sino dos fiestas”, cuenta a este diario Vitoria.

Pero que el aniversario sirva para hacer balance. El titular es: “muy positivo”. “Es verdad que tiene lógica hablar de las tiendas de discos como un lugar de resistencia, de ir a contracorriente, pero también hay nuevas generaciones que, más allá del coleccionismo, quieren tener el objeto de la música, que es como poseer el arte. Es casi un fetiche, y está bastante vivo. Estamos muy contentos con ello”, analiza el gerente de Discos Amsterdam, que también apunta que ahora “vende discos a todas partes del mundo”.

Los vaivenes de la industria musical no han hecho desfallecer el proyecto: ni cambios de generencia, ni cierres, ni pesimismo: “Hemos hecho más de 100 actividades como conciertos, conferencias… Todo gratuito. Hemos querido cuidar a nuestro público”. Y en todo eso, un eje común: el de construir una tienda “que no solo vendiera discos”, sino que “tuviera actitud”: “lo hemos conseguido durante todos estos años”, concluye Vitoria.

– ¿València puede estar orgullosa de la red de tiendas de discos?
– Claro que sí.

“No quedan tiendas de discos que puedan decir lo mismo, que puedan lucir tan abultado historial con la misma dirección desde que abrieron. Y es que quizá hablemos de algo más que una tienda de discos. Un catalizador cultural, con más de 140 conciertos organizados y decenas de exposiciones y presentaciones. Parte de la educación musical (y sentimental) de varias generaciones. Se suceden las coyunturas, las modas, los estilos y las tendencias pasajeras, pero Discos Amsterdam permanece ahí, inalterable al paso del tiempo, tan reconocible como cuando abrió, pero siempre atenta a las últimas novedades que se abren paso en el mercado discográfico”, reza una nota remitida. Todo esto supone para su parroquia, la pasada, la presente, y —tal vez la más importante, y Vitoria confirma que la hay—, la futura.

Quicksilver record shop was located in the ‘Butts Centre’ in Reading

By

Hannah Roberts

Around 40 years ago, or so, there was a vinyl shop in Reading town centre that was much-loved among young music fans in the town. Donny Osmond and Motorhead were thought to have made appearances at the store as did the post-punk band Skids. 

Reading-born Hollywood star and comedian Ricky Gervais recently revealed that he reckons he bought his first ever album at the shop. The comedian said he had travelled into town when he was about 12 or 13-year-old to the “Butt’s Centre”, which is now called Broad Street Mall. 

Gervais told the story during an online Twitter broadcast which he filmed, live, on Sunday August 21. One of his fans had asked him whether he remembered buying his first-ever album.

The comedian recalled purchasing his first-ever album from a store that was “dark” and “really cool.” He thinks that the shop was Quicksilver, which would make sense as it was definitely “dark” and “cool” back in the day. In 1980 post-punk rock band Skids met fans at the store to sign albums.

Gervais spoke about what album it was that he had bought and said: “It was Stranded by Roxy Music. I went into town. Saved a bit of money. What would I have been? 12? 13? I can’t remember the name of the shop. I think it was Quicksilver. Or another one? 

Fans gathered around to meet the band Skids.
Fans gathered around to meet the band Skids. (Image: Mirrorpix)

“It was at the Butts Centre in Reading. I know I had to go up the escalator to a little shop. It was cool. It was really cool. It was one of those shops where its like really dark, with a red light, do you know what I mean? 

“Lava lamps, joss sticks, it was one of those and I remember I felt so grown up. Yeah, Stranded by Roxy Music. I think I’d only heard one track. I think I’d only heard Street Life and I took a chance, but, it was different in those days because you loved having an album.”

Gervais said that listening to music then was different to listening to music today as you used to buy an entire album on vinyl and listen to it all the way through. The comedian even recalled studying song lyrics and learning about the people in bands as well as the music engineers. 

He said: “Then you knew everything. I’d learned the lyrics. I knew the band, I knew who the engineer was. I’d sit there listening to the album like that and reading the notes and now you just don’t. Or some people do.”

Why You Should Start Listening to Vinyl Records

KRIS WOUK

AUG 7, 2022, 8:00 AM EDT

https://www.howtogeek.com/818155/why-you-should-start-listening-to-vinyl-records/

Sales numbers for vinyl records have been surging for years, and for good reason. There’s something about listening to music on vinyl that just doesn’t seem to have an analog in the digital realm.

Listen to Albums Instead of Just Songs

In most of our music listening, we’ve stopped listening to entire albums of songs the way people used to. While being able to instantly call up your favorite song or hear a playlist of potential favorites is nice, it can rip songs from their intended context, weakening them as a result.

With a vinyl record, it’s possible to skip to a song by locating the right groove on the record, but it certainly isn’t easy. This almost forces you to listen to an entire album, hearing the songs in the order the artist intended. This gives a flow to the music that is missing otherwise, and you may even find you like certain songs more or less due to the songs surrounding them.

A single vinyl record can hold around 15 to 20 minutes per side, maxing out at around 22 minutes. This means a single disc won’t have more than 45 minutes of music. For anything else, you’ll need a double album: two individual records packaged together.

This gives you more options. Don’t have an hour-plus to listen to an entire double album? Play just one disc, and you’ll start to appreciate those songs more. Want to get to know an album even better? Play them a side at a time.

Of course, to get the most out of your records, you’ll want to listen to them intently, instead of just letting them play in the background. It helps if you have a quality stereo or some great-sounding headphones.

Read the Liner Notes

You may not notice when you hear a single song in isolation, but artists put significant effort into every single aspect of a release. This means more than just the music, as this level of detail often goes into the packaging.

Services like Spotify and Apple Music can now show you lyrics alongside a song you’re listening to, and if they don’t have it, you can probably find the lyrics on Genius. That said, there can be something nice about reading the lyrics from the lyric sheet included with the record.

Some vinyl releases are barebones, but given the popularity, this isn’t all that common. Instead, artists devote extra time to the vinyl release, adding liner notes with details about the record that you may never find online.

Don’t forget the credits, either. Especially with today’s productions, you may find an artist who consistently contributes music or lyrics to works by another artist you love, helping you expand your musical horizons.

Enjoy the Artwork

While we’re looking at the packaging of vinyl records, we’ve got to mention the artwork. Artists put plenty of time and effort into creating or collaborating on album artwork that most people only ever see as a roughly one-inch square thumbnail on their phone.

Even if you tap on the album artwork to inspect it closer, most music services don’t offer a way to get a good look at it. A vinyl record, on the other hand, gives you a detailed copy of the artwork a little over a square foot in size.

With albums that I first heard digitally before buying the vinyl, I’ve had many times when I’ve noticed details in the artwork that I’d somehow missed countless times before. Looking over the artwork as the music plays is another great way to increase your immersion in an artist’s work.

Vinyl is an Experience, Not Just a Sound

Listening to an album mindfully—putting aside your connected devices and anything else that takes your focus from the music—isn’t for everyone, but it can be an incredible experience. It’s a great way to hear music for the first time or to revisit an album you’ve heard more times than you can count.

Even hunting for records can be fun. You don’t have to be a collector to keep an eye out for great deals at music stores or even yard sales, but this can be a great way to grow your music library on the cheap.

If you’ve got a stereo system or headphone setup you love, you’re already most of the way there. Just pick yourself out a turntable, pick up a few records, and start listening.

VINYL LIVES: Turn It Up! (MA/VT) Keeps It Fiercely Independent & Reissue Friendly

By Ryan Dillon

Source: https://glidemagazine.com/279131/vinyl-lives-turn-it-up-ma-vt-keeps-it-fiercely-independent-reissue-friendly/

The phrase “history repeats itself” is tossed around frequently and when CDs took over as the main way to consume music in the 90s, no one ever thought that phrase would apply to vinyl. Fast forward to the modern day and vinyl LPs are making an unpredictable resurgence over the past decade, hitting a new high in 2021. Vinyl made up 11% of music sales last year, bringing in a reported $1 billion in total sales. 

With vinyl steadily rising over the last decade, your local record shop is getting more and more crowded every year. These once hallowed grounds are now filled with new life and the shelves are stocked with multiple color variants of your favorite album of the year. Whether you’re stocking up on classics or starting up a new collection, local record stores are the backbone to any good vinyl collection. 

Vinyl Lives is Glide’s look into record shops around the country, highlighting hidden gems and popular local spots. In this edition, we cover Turn It Up Records, a fiercely independent operation with a select three shops located along the I-91 corridor between Northampton, MA, and Brattleboro, VT.  Turn it Up specializes in discounted physical music and has a rotating supply of used LPs and CDs. We had a chance to talk to founder Patrick Pezzati about his aptly named records shops.

What is the short history of Tun It Up! & how much of your stock is new vs old?

The first Turn It Up! opened at our current location in Northampton, MA on November 24, 1995. The idea came from a conversation between Patrick Pezzati and Chandra Hancock, record shop veterans of several years, lamenting the standard blandness of local shops in the area. From the beginning, the idea was to offer an alternative to the $18+ CD that all local indie shops specialized in. We decided to offer only used or overstock titles so that we could keep the price around $8 a disc. We also wanted to combine indie shop know-how with chain store friendliness.

Other than your own store, what and where is the greatest record store shopping experience you ever had? What is your greatest $1 bin find?

My greatest experiences mostly involved hole-in-the-wall used shops in Boston, New York, etc, though I did enjoy Tower Records a lot as a consumer, though my entrepreneur’s brain cringed at the insane overhead costs they must have had.

Best $1 bin finds are too many to list because I’ve bought everything from original Great White Wonder bootlegs to original jazz rarities for about 50 cents over the years. I’ve also dug up some great treasures in pallets of overstock, from Bear Family box sets to Japanese Blue Note CDs.

Do you have a cheap bin and what do you typically find in there?

Of course, and people have found treasures in there because we make mistakes! I’ve found some gold in there myself!

What used record do you hope to never have to see or listen to again?

It’s funny because many records that used to be rejected now sell quite well. Cat Stevens is an example. There are many artists that I might not remember fondly – lots of 80s pop music, for example – but young kids are now buying. So I’m never going to wish that people don’t buy something. Personally, though, I hope to never have to hear the Dave Matthews Band again.

How has the backup at pressing plants affected what release day means and has there been any sort of backlash about this?

Not sure about backlash because our customers understand, but of course. Luckily for us we have consciously stayed away from being a “new release” oriented shop so we’ve not had to deal with a mad rush for any hit records.

Thoughts on CDs making a small comeback in the last year?

I love CDs and never stopped listening to them or buying them. My first record store job was at Discount Records in Harvard Square in April 1986. When I started, we had 95% vinyl and a small bin of CDs. By the end of ’86 it was reversed. While I love vinyl, I also get why people were really attracted to CDs. Now we see young people come in and buy, say, the Beatles on LP but Pearl Jam on CD because it’s $5-$8 while the record costs a lot more.

You’d be surprised to know but we sell a lot of __  

Many artists that aren’t necessarily “hip”, whether it’s mid-70s stuff like James Taylor or Cat Stevens or mid-90s stuff like Cranberries or even Britney Spears. Lately, Joan Baez has been selling well again, as have musicals. We’ve always sold all genres and all formats and tried to avoid getting pigeonholed and only appealing to a certain type of buyer. 

What has been your top-selling record this year so far?

Probably Kendrick Lamar but we don’t really sell “hits”. The last time we sold over 20 copies of a new record it was then 79-year-old Bob Dylan’s latest.

What labels do you find consistently put out the best product in terms of packaging?

Light In The Attic is great. Numero Group too.

As a store, what record labels do you feel best represents what you try to curate?

4 Men With Beards and Stones Throw Records are two labels we’ve been stocking a lot lately, in addition to the aforementioned Light In The Attic and Numero Group.

What is the most expensive record in your store right now? 

We have an Eric B and Rakim set that’s $160.

Have you had any in-store signings or performances? What are some of the more memorable ones you’ve had?

We’ve had some great ones, even though the Northampton shop is quite small so we can’t fit more than a small combo. Local favorites the Stone Coyotes were one of the best. We had Josh Ritter play for about eight people in the Northampton shop, staff included. Rough Francis had a great show in Brattleboro, as did Sunburned Hand of the Man. and Doug Paisley.

Check out the extensive selection of collectible LPs and CDs at Turn It Up’s Discogs store by clicking here

La explosión del vinilo: ¿postureo o salvavidas de la música grabada?

Source: Nacho JiménezEfe  Palma https://www.ultimahora.es/noticias/cultura/2022/08/16/1774067/explosion-del-vinilo-postureo-salvavidas-musica-grabada.html

El formato, que acaba de celebrar su Día Mundial, cuenta con varios espacios especializados en Palma, como Mais Vinilos o La Viniloteca, entre otros

Mais Vinilos es uno de los espacios de Palma dedicado al cien por cien al soporte predigital

Mais Vinilos es uno de los espacios de Palma dedicado al cien por cien al soporte predigital. | M. À. Cañellas

El vinilo acaba de celebrar su Día Mundial en un contexto de ventas crecientes, pero aún marginales frente a la escucha digital y bajo la sospecha de si su retorno responde a una mejora objetiva de la calidad o es el último recurso para salvar al formato físico dentro de la industria de la música grabada. Palma, por ejemplo, no es una excepción, y en este momento se pueden encontrar varios espacios dedicados únicamente al vinilo, como Mais Vinilo o La Viniloteca, y también se pueden encontrar en otros como Espai Xocolat, El Corte Inglés, Rata Corner o Fnac.

Los datos aportados en 2021 por Promusicae cifran en 1,6 millones las unidades vendidas en España en ese año, hasta acumular más de 25 millones de euros. Se trata de un 32 % más que el año anterior, prosiguiendo con un aumento constante en los últimos años, que sorprende aún más al comparar con los 140.000 ejemplares de 2013.

Siglo XXI

Desde la irrupción a principios del siglo XXI de la piratería a pie de calle y sobre todo de las descargas ilegales con internet, la historia para el CD es completamente la contraria y explica en parte por qué esta industria se ha volcado en los vinilos a pesar de que estos no pasen del 40 % del mercado físico: en 2001 se despacharon casi 79 millones de unidades; en 2021, 4,4 millones.

Otro dato completa y relativiza el contexto sobre la pujanza del vinilo. Actualmente, el motor de la música grabada es, con mucha diferencia, el streaming, que tanto en la modalidad de pago como en la gratuita (la favorita en España) reportó 303,5 millones el pasado año, es decir, el 83 % de todo lo que se ingresó en el país. Según cuentan desde varios establecimientos del país, la edad promedio del comprador de vinilos es de 45 años, aunque se está dando un aumento de gente joven en la clientela.

En este mercado, primera y segunda mano se erigen como alternativas igualmente relevantes pero claramente diferenciadas: mientras que la segunda mano a menudo ofrece el sonido original de algunas reliquias de la música, la primera mano (preferida por la juventud según Menéndez) pone el foco en lo accesorio: la portada, los libretos y el disco como un objeto bello. Ahora, por otro lado, la continuidad de la moda del vinilo se encuentra amenazada por la subida en los precios de sus materias primas, papel y petróleo. Esto lo convertiría en un artículo agravado por un IVA del 21 %.

Día Mundial del Vinilo

La vuelta al vinilo: ¿postureo o salvavidas de la música en formato físico?

  • El vinilo celebra su Día Mundial con ventas crecientes pero aún marginales frente a la escucha digital
  • En 2021 se vendieron en España 1,6 millones de unidades, que facturaron 25 millones de euros.

PorEFE(Salvador León/Javier Herrero): Source: https://www.rtve.es/noticias/20220812/vuelta-vinilo-postureo-salvavidas-musica-formato-fisico/2396120.shtml

El vinilo celebra este viernes su Día Mundial en un contexto de ventas crecientes, pero aún marginales frente a la escucha digital y bajo la sospecha de sí su retorno responde a una mejora objetiva de la calidad o es el último recurso para salvar al formato físico dentro de la industria de la música grabada.

Los datos aportados en 2021 por Promusicae cifran en 1,6 millones las unidades vendidas en España en ese año, hasta acumular más de 25 millones de euros. Se trata de un 32 % más que el año anterior, prosiguiendo con un aumento constante en los últimos años, que sorprende aún más al comparar con los 140.000 ejemplares de 2013.

Desde la irrupción a principios del siglo XXI de la piratería a pie de calle y sobre todo de las descargas ilegales con internet, la historia para el CD es completamente la contraria y explica en parte por qué esta industria se ha volcado en los vinilos, a pesar de que estos no pasen del 40 % del mercado físico: en 2001 se despacharon casi 79 millones de unidades; en 2021, 4,4 millones.

El motor de la música grabada es el ‘streaming’

Otro dato completa y relativiza el contexto sobre la pujanza del vinilo. Actualmente, el motor de la música grabada es, con mucha diferencia, el “streaming”, que tanto en la modalidad de pago como en la gratuita (la favorita en España) reportó 303,5 millones el pasado año, es decir, el 83 % de todo lo que se ingresó en el país.

“La vuelta del vinilo es relativa, se cargaron la industria del disco”, afirma Luis Díaz, encargado de la tienda de discos Record Sevilla. “Igual que no interesaba seguir con el vinilo a partir de los 90 porque se consideraba más rentable introducir el CD, con las plataformas digitales vieron que el negocio se les acababa y no tuvieron más remedio que volver a lanzarlo“, afirma.

El retorno a este formato como una relativa moda en plena crisis del mercado físico es una hipótesis compartida por otros vendedores como Antonio Menéndez, socio de la tienda “Alta fidelidad” de Oviedo, quien señala que el número de adeptos al vinilo “sigue siendo muy minoritario”.

Según su experiencia, fija la edad promedio del comprador en 45 años, aunque reconoce un aumento de gente joven en la clientela y un crecimiento del consumo a cifras superiores “que las de hace doce años”, algo que atribuye al “fetichismo del formato”.

En este mercado, primera y segunda mano se erigen como alternativas igualmente relevantes, pero claramente diferenciadas: mientras que la segunda mano a menudo ofrece el sonido original de algunas reliquias de la música, la primera mano (preferida por la juventud, según Menéndez) pone el foco en lo accesorio: la portada, los libretos y el disco como un objeto bello.

“Ante un lanzamiento de un grupo nuevo, yo personalmente elijo el vinilo porque es más impactante, pero no deja de ser verdad que es por la carcasa. El sonido en sí no deja de estar digitalizado y suena muy similar a un CD, pero gana el formato, con esas portadas que son obras de arte, el ritual de la aguja…”, señala Díaz.

Ediciones cada vez más trabajadas

Sus detractores recuerdan una costumbre que durante un tiempo afeó la calidad del sonido y enfatizaba el “postureo” de este tipo de consumo, la de reediciones que se limitaban a imprimir en este formato masterizaciones digitales y comprimidas de álbumes publicados cuando el vinilo había desaparecido de las tiendas y lo que se imponía era el CD o, peor, el MP3.

Otros “gourmets” del audio recuerdan, sin embargo, que frente a los 130 gramos usados habitualmente en la fabricación de ejemplares de los años 80, sin apenas espacio entre los surcos de las canciones, hoy por hoy no se distribuyen vinilos por debajo de los 180 gramos, con ediciones cada vez más trabajadas.

Desde “La Metralleta”, decana tienda musical de segunda mano en Madrid, señalan el gusto por “lo retro” como relevante en la nueva vida del disco y, ante el mayor consumo de música en digital, contemplan a Spotify y apps similares como complementarias.

“Si lo quieres en formato físico es porque eres coleccionista”, afirman, distinguiendo el perfil del comprador de elepés del consumidor esporádico de música.

Entre las adquisiciones más singulares que han materializado en ese negocio, destacan un “maxisingle” de Michael Jackson vendido a Francia por unos mil euros, mientras que en “Record Sevilla” recuerdan haber estado en posesión de un primer single de Pink Floyd. Desde “Alta Fidelidad” destacan la peculiar figura del coleccionista de discos con erratas y señalan a los que “vienen buscando milagros en cajas de discos de tres euros”.

Ahora, por otro lado, la continuidad de la moda del vinilo se encuentra amenazada por la subida en los precios de sus materias primas, papel y petróleo. Esto, señala Menéndez, lo convertiría en “un artículo de lujo” agravado por un IVA del 21 % que considera excesivo. “Nuestro IVA debería ser como el de los libros (un 4 %)”, afirma.

Celebrate National Vinyl Record Day with these 9 music podcasts

MUSIC AUGUST 12, 2022 

Source: https://podsauce.com/articles/celebrate-national-vinyl-record-day-with-these-music-podcasts/

We’re celebrating National Vinyl Record Day with some groovy podcasts filled with news, artist interviews, music critiques, and history. Hear insight into some of your favorite albums as told by the artists themselves on “Life of the Record.” In another series, hear Rick Rubin, Malcolm Gladwell, Bruce Headlam, and Justin Richmond interviewing musicians about their life, work, and greatest inspirations.

On “Jonesy’s Jukebox,” Sex Pistol Steve Jones shares classic interviews from his Indie 103.1 radio show. For music history and trivia, tune into podcasts like “Hit Parade” and “A History of Rock Music in 500 Songs.” Podcaster Jake Brennan unites music and true crime on “Disgraceland” and “Blood on the Tracks Season 4: The Brian Wilson Story.” 

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A History of Rock Music in 500 Songs

A History of Rock Music in 500 Songs

Listen to ‘A History of Rock Music in 500 Songs’

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Dive into rock’s history from 1938 to 1999 with host Andrew Hickey. Episodes dissect 500 songs that molded the genre with fact-filled episodes on tunes by Herman’s Hermits, The Beatles, The Jimi Hendrix Experience, Aretha Franklin, The Doors, and many more. Check out over 180 episodes running less than 90 minutes on average, a must-listen series for music fans.

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Life of the Record

Listen to ‘Life of the Record’

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Hear music history and classic album stories as told by their artists on “Life of the Record.” Hear of Montreal’s Kevin Barnes talk about the album, Hissing Fauna, Are You the Destroyer? Arrested Development’s Speech discussed the group’s debut, 3 YEARS, 5 MONTHS AND 2 DAYS IN THE LIFE OF. In another episode, Jody Stephens, Terry Manning, Holly George-Warren, and Rich Tupica chatted about Big Star’s debut, #1 Record.

Hit Parade podcast art

Hit Parade | Music History and Music Trivia

Listen to ‘Hit Parade | Music History and Music Trivia’

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Slate Podcasts’ “Hit Parade” shares music history and trivia with Chris Molanphy, pop chart analyst and author of Why is This Song #1? The series explores what makes songs smash hits and dives into classics that dominated the charts. Tune in for episodes on Kate Bush, Virginia Beach’s music scene geniuses including Missy Elliott, Timbaland, and Pharrell, and ’70s R&B queens.

Jonesy’s Jukebox

Listen to ‘Jonesy’s Jukebox’

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Hosted by Sex Pistol Steve Jones, “Jonesy’s Jukebox” shares classic interviews from his radio program on Indie 103.1 with artists like The Buzzcocks’ Pete Shelley and Steve Diggle, The Beach Boys’ Brian Wilson, Siouxsie Sioux and Budgie (from the Banshees), and more. Tune in on Mondays for new episodes.

Popcast podcast art

Popcast

Listen to ‘Popcast’

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The New York Times‘ pop music critic Jon Caramanica hosts “Popcast,” a series sharing news, commentary, and trends. Recent episodes covered Beyoncé’s Renaissance, Lizzo, Elvis and his biopic, and Jack Harlow.

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Switched on Pop podcast art

‘Switched On Pop’ always has the freshest takes on pop music, from Justin Bieber’s Grammy performance to ABBA’s ’90s R&B bass lines 

Blood on the Tracks: The Brian Wilson Story podcast art

Blood on the Tracks Season 4: The Brian Wilson Story

Listen to ‘Blood on the Tracks Season 4: The Brian Wilson Story’

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“Blood on the Tracks” is back for a new season, “The Brian Wilson Story.” Wilson was writing the Beach Boys’ next album, Smile, after Pet Sounds. The new album was never released, and this podcast is a historical fiction take on his life and piling worries. This Double Elvis podcast is hosted by Jake Brennan and each season integrates true crime, music history, and lo-fi beats.

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Jake Brennan’s ‘Blood on the Tracks Season 3: A Bob Dylan Story’ revs up after Dylan’s motorcycle crash in July 1966 

Disgraceland podcast art

Disgraceland

Listen to ‘Disgraceland’

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Double Elvis’ “Disgraceland” combines music and true crime when sharing celebrities’ bad behavior ranging from theft to getting away with murder in over 10 seasons. Hear about Taylor Swift’s stalkers, Britney Spears’ conservatorship, punk rock icon Sid Vicious’ life, Syd Barrett’s drug use, and more stars’ stories.

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Broken Record podcast art

Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam, and Justin Richmond

Listen to ‘Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam, and Justin Richmond’

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Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam, and Justin Richmond” chats with artists about their craft. Hear over 200 episodes with guests like Patti Smith, Neneh Cherry, Sonny Rollins, PJ Morton, Sharon Van Etten, Tom Jones, and The Red Hot Chili Peppers – just to name a few. This series is presented by Pushkin.

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Rolling Stone Music Now

Rolling Stone Music Now

Listen to ‘Rolling Stone Music Now’

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Cumulus Podcast Network presents “Rolling Stone Music Now,” a weekly series hosted by senior writer Brian Hiatt. Tune in for news, opinions on new releases, and more from Rolling Stone’s staff and special guests. A recent episode celebrated Joni Mitchell with Cameron Crowe talking about his 1979 interview. Guitarist Larry Carlton shared his experiences playing on Mitchell’s songs.

Vinyl fantasy: how gamers fell in love with records

Gaming albums have been steadily rising in popularity since the early 2010s. Players and creators explain why

Gaming albums have been steadily rising in popularity since the early 2010s. Players and creators explain why

Press play … LP covers for Streets of Rage and Shenmue soundtracks.
Press play … LP covers for Streets of Rage and Shenmue soundtracks. Composite: Data Discs

Source: Keith Stuart. The Guardian, Mon 25 Jul 2022 13.15 BSThttps://www.theguardian.com/games/2022/jul/25/vinyl-fantasy-how-gamers-fell-in-love-with-records

aroline Grace has always enjoyed vintage technology. An IT tech in the Mid-Ohio Valley, they collect retro games, laser discs and cassette tapes, but mostly, vinyl records. Their collection is in the thousands, and hundreds of those are video game soundtracks. “I’ve been a big fan of games all my life,” says Grace. “Some of my earliest memories are playing games like Wonder Boy III: The Dragon’s Trap and Goof Troop with my dad and brother. I get positive feelings from listening to the Wonder Boy III music now. I have a lot of pleasant memories of playing it with my family back in the day.”

The idea of buying video game soundtracks on vinyl may seem counter-intuitive: the most hi-tech digital entertainment medium meeting this fragile relic of the analogue era. But gaming albums have been steadily rising in popularity since the early 2010s. Partly that’s thanks to the wider vinyl revival, but it’s also due to the efforts of specialist record labels such as Data Discs, which produces beautiful albums based on vintage video games. “When we started the label in late-2014 there wasn’t really anyone releasing game soundtracks on vinyl,” says co-founder Jamie Crook. “We had been half-joking about trying to release Streets of Rage for the best part of a decade and we’re still surprised that no one else beat us to it. It just seemed abundantly clear that game soundtracks were going to be one of the next growth areas, alongside Japanese ambient, especially after the huge popularity of film soundtrack labels from 2012 onward.”

The idea became a reality when Cook sent a speculative email to Streets of Rage composer Yuzo Koshiro: he was on board immediately, as was Sega Japan (“though I think they were also a little bewildered”). Consequently, Data Discs was able to license a number of releases spanning Sega’s history, from Sonic to Shenmue, and has since broadened to other classic Japanese titles such as Okami, Ikaruga and surprise best-seller Policenauts, the old cyberpunk thriller from Metal Gear creator Hideo Kojima.

Surprise best-seller … LP cover for the Policenauts soundtrack.
Surprise best-seller … LP cover for the Policenauts soundtrack. Photograph: Data Discs

Nostalgia seems to be a major draw for many collectors. Alongside Data Discs, labels such as movie soundtrack specialist Mondo and hip New York-based indie Ship to Shore PhonoCo also produce high quality albums for classic games. “Nostalgia plays a big part in my vinyl collecting – I will go out of my way to acquire records for games that I enjoyed as a kid,” says Chris Hansen, an IT contractor for the Department of Homeland Security in Mississippi. “I got into collecting vinyl in 2016 when I heard about Mondo’s release of Castlevania. I own every Castlevania game, it’s my favourite series, so I had to get the record. When I started looking into other releases, I discovered that Data Discs had put out Streets of Rage and Streets of Rage 2 on vinyl. I’ve been hooked ever since.”

But it’s not all about the past; a huge number of contemporary video games are accompanied by vinyl soundtrack releases, whether that’s an orchestral score for a bestselling Triple A blockbuster, or an electronic soundtrack for a cult indie game composed entirely by a lone musician. For small studios, it can be tough to make a living from game sales alone in such an over-saturated market, so selling merch to a dedicated fanbase is an important source of revenue.

the cover art for the Ikaruga soundtrack LP.
the cover art for the Ikaruga soundtrack LP.Photograph: Data Discs

There is also an important community element to video game vinyl. Releases tend to be limited editions and not always widely marketed, so fans meet up on Discord servers and Reddit forums to swap tips and compare collections. “We sometimes help each other get our personal ‘holy grails’,” says Pete Boyle, a collector based in Leeds. “Last year, I mentioned in passing that I missed the original release of the Firewatch soundtrack by Chris Remo. Minutes later I received a message from someone offering to sell it to me at cost plus post. It was in my hands less than two weeks later! We look out for one another. I have made some incredible friends for life.”

In the early 2010s, Austin Wintory’s beautiful cello-led soundtrack for Journey and the 1980s-splashed electropop of Hotline Miami 2 showed how varied and musically accomplished game scores had become. Now, from global Final Fantasy concert tours to BBC Radio 3’s excellent Sound of Gaming programme to the forthcoming gaming concert at the BBC Proms, game soundtracks have been accepted as an art form alongside film scores. For many players, listening to game music is a personal, immersive experience, because we may have listened to it not just through a 90-minute film, but tens of hours of play.

“The concept of dynamic music – or music that changes to your environment or actions – is unique to games,” says Sound of Gaming presenter Louise Blain. “As players, we have come to rely on music to tell us we’re in danger, to react when we draw our swords, and tell us to calm down when the coast is clear. It is our soundtrack, no one else’s.

“Film music never needs to fill the gap when we get distracted and wander off the beaten path to see what we can find hiding deeper in the woods. Red Dead Redemption 2 composer Woody Jackson jokingly called some of the 60 hours of music he’d composed for the game ‘cowboy yoga music’ because those atmospheric strings had to accompany us everywhere. Game music understands that we want to lose ourselves and take in the scenery as well as ticking off quest lists. It also means that the more time we spend, the stronger our emotional connection can be.”

We often play alongside friends, so game music is the sound of a shared journey

This is a really vital point. Game music reminds us of places that we have effectively lived in. What’s more, we often play alongside friends, so game music is the sound of a shared journey, bringing to life all the emotions that entails. “There are two soundtracks that will always remind me of a particular time in my life,” says Dutch vinyl collector Jill Verhage. “The soundtrack to Ori and the Blind Forest, as it is one of the last games my best friend played before she passed in 2017, and the soundtrack of Ori and the Will of the Wisps, which always brings me great sadness knowing she never got to experience that game.”

Whatever else motivates collectors, these are beautiful artefacts. At Data Discs, the team spends days sourcing archival video game art for their releases. “On occasion, we’ve tracked down the original paintings, either from the licensor’s vaults or through private art collectors, and have had HD photographs taken,” explains Crook. “The rights for artwork can sometimes be complicated too. For example, for our After Burner II release, we had to license the cover image of the F-14 Tomcat directly from Northrop Grumman, which was a very laborious (and expensive) process, but ultimately worth it.”

Soundtrack albums so easily become an extension of a game’s aesthetic. They are large enough to show off its artwork, and they have an element of discovery too, with extensive liner notes, glossy inserts and luscious packaging. And like video games, they are tactile, concerned with skill and ritual. You treat vinyl records with reverence and care, dropping the needle so that it falls as softly as a good jump in a platform game. And when the music starts, you are transported.

Producers Trying to Keep Up with Growing Vinyl Record Sales

Tyler Bryant listens to finished record albums for flaws in a quality control room at the United Record Pressing facility Thursday, June 23, 2022, in Nashville, Tenn. (AP Photo/Mark Humphrey)
Tyler Bryant listens to finished record albums for flaws in a quality control room at the United Record Pressing facility Thursday, June 23, 2022, in Nashville, Tenn. (AP Photo/Mark Humphrey)

Source: https://learningenglish.voanews.com/a/producers-trying-to-keep-up-with-growing-vinyl-record-sales/6636686.html

Producers Trying to Keep Up with Growing Vinyl Record Sales

The invention of the Compact Disc (CD) caused vinyl music records to fall out of popularity over 30 years ago.

But sales of vinyl records have been growing for the past 10 years. The COVID-19 pandemic only increased sales.

In 2021, money earned from “vinyl” sales was greater than $1 billion for the first time since CDs took over the market.

Vinyl records, made out of a kind of plastic, had been the main method for listening to music until the 1980s, when CDs took their place. As a result, many factories that produced vinyl records were shut down.

Mark Michaels is head of United Records, based in the city of Nashville, Tennessee. The company is the largest record producer in the United States. He said the industry “has found a new gear, and is accelerating at a new pace.”

Freshly pressed vinyl records are produced in a stamper at the United Record Pressing facility Thursday, June 23, 2022, in Nashville, Tenn. (AP Photo/Mark Humphrey)
Freshly pressed vinyl records are produced in a stamper at the United Record Pressing facility Thursday, June 23, 2022, in Nashville, Tenn. (AP Photo/Mark Humphrey)

Many of the new customers are old enough to have listened to records during their childhood or young adulthood. But the recent increase in “vinyl” sales is not just from older buyers.

A younger generation is buying records. More current artists are meeting the new demand. They have begun releasing their newest records on vinyl as well as the normal electronic releases.

Because vinyl record sales were so low for so long, the industry has had to make major changes to keep up with increasing demand. Major record labels are restarting their old manufacturing plants. Smaller independent vinyl presses are also starting up.

There are now around 40 active vinyl plants in the U.S. and most of them are small. They cannot make records as fast as people are buying them.

It can take six to eight months for an order of records to be filled. Manufacturers are also dealing with shortages of materials, which can slow production even more.

The answer to these problems is not as simple as opening more factories. The machines that are needed to create vinyl records are rare. In the 1980s, many manufacturers destroyed or took apart their vinyl pressing machines.

A mix of colored vinyl pellets that will be made into records is stored in a bin at the United Record Pressing facility Thursday, June 23, 2022, in Nashville, Tenn. Colored pellets are used by themselves or in a variety of combinations to create colorful
A mix of colored vinyl pellets that will be made into records is stored in a bin at the United Record Pressing facility Thursday, June 23, 2022, in Nashville, Tenn. Colored pellets are used by themselves or in a variety of combinations to create colorful

Today, there are only a few companies that make the machines, and none of them are in the US. These machines are in such high demand that these companies cannot create them as fast as they are being bought.

There is some debate about the sound quality of vinyl records compared to electronic recordings, but that is not the whole story.

Mark Mazzetti develops musical artists and has worked for Sting, Janet Jackson, and others at A&M Records. He said: “I love the vinyl experience. All of it. To me, there is an electrifying sound when I play records that I don’t feel from digital.”

Because record production is not meeting demand, nobody knows how much longer the market will increase at this rate. For his own part, Michaels is hopeful about the future.

“I believe in music, and I believe in the importance of music in people’s lives. I don’t think that changes,” he said.

I’m Matthew Caputo.

Elijah Lindsay loads finished vinyl records into shipping boxes at the United Record Pressing facility Thursday, June 23, 2022, in Nashville, Tenn. Vinyl record manufacturers are rapidly rebuilding an industry to keep pace with sales that topped $1 billio
Elijah Lindsay loads finished vinyl records into shipping boxes at the United Record Pressing facility Thursday, June 23, 2022, in Nashville, Tenn. Vinyl record manufacturers are rapidly rebuilding an industry to keep pace with sales that topped $1 billio

David Sharp reported this story for AP News. Matthew Caputo adapted it for VOA Learning English.

THE NAKED CITY: WHEN TOO MUCH VINYL IS NOT ENOUGH

Posted on 18 July 2022 by Coffin Ed in City Hub The Naked City : Source; https://cityhubsydney.com.au/2022/07/the-naked-city-when-too-much-vinyl-is-not-enough/

When the so called ‘vinyl revival’ became commonplace a few years ago, many were sceptical that it would survive. After all, the old analogue technology of a needle tracking into the groove of a disc made of polyvinyl chloride to produce a sound seems hopelessly out of date given the current advances in the digital world.  Yet vinyl has not only survived, it has proliferated in a way nobody could have predicted.

Ironically it now appears to have superseded the technology that once promised to make every 12 inch LP and 7 inch 45 a thing of the past – the now somewhat despised CD. Trawl through any Op shop these days and you will find shelves of unloved compact discs, most of them selling for a dollar or two. There’s the odd milk crate full of old vinyl but anything half decent has been spotted. Only the Roger Whittaker and Perry Como albums sit mournfully in the bin, destined to remain homeless forever.

Whilst downloaded music via Spotify and the like is now essential for most recording artists, it’s become almost a status symbol for many performers to release a vinyl edition – often avoiding a CD release in the process. It’s much cheaper for a fan to download an album rather than fork out $50 or $60 for a piece of black plastic, but the market for the tactile product remains remarkably strong. You get a nice big album cover and there’s a certain intimacy with your favourite singer or band as you place their LP on your turntable.

Record companies might bemoan the lack of once highly lucrative CD sales but there’s a real bonus for them when it comes to reissuing their back catalogue on sparkling new vinyl. Not only do re-pressings of classic and rare jazz, blues, soul, reggae and rock albums appeal to a younger audience, perhaps discovering them for the first time – but the generation that grew up with vinyl are rekindling their interest.

When it comes to baby boomers, snapping up new vinyl reissues is not only a nostalgia trip or a preference for the older warmer analogue sound, in many cases they owned the album when it first came out, back in the 60s or 70s and the original is now scratched or deadened by a blunt stylus, lost or thrown away. The opportunity to pick up a brand new copy and place it on the new $600 turntable you have just acquired, is just irresistible. The quality of vinyl is generally better today and the albums are often remastered.

New vinyl aside, the real madness in the current vinyl renaissance is in the second hand and collector world. Most of the surviving record shops in Sydney have switched to an almost exclusive range of new and old vinyl with hardly a CD in sight. Rare and sought after old albums and 45s bring big bucks whether they are sold in boutique shops or traded globally on eBay or sites like Discogs.

Like all collectors there are many levels of obsession, ranging from the moderate enthusiast to the down right pathological. Brazilian businessman José Roberto “Zero” Alves Freita currently claims to have the world’s largest collection of vinyl, last reported as approaching eight million. It was apparently a compulsion that began in his childhood and by the time he left high school he had amassed around three thousand.

Over the years he has acquired LPs, 45s and 78s from a wide variety of sources: from other collectors, record shops, deceased estates and donations – all stored in a large warehouse. He employs a number of people to help with the cataloguing and set up for what he sees as a dedicated sound archive of twentieth century music. Apparently he also keeps a ‘personal’ collection at home, numbering a modest 100,000!

Not surprisingly, other much smaller collectors around the world have vented their envy, accusing him of being a shameless hoarder with little intrinsic love of the music he has sourced. Interviews with him tend to suggest a different story,  a genuine affection for many of the genres he collects and a wide knowledge of all recorded music. Hopefully his archive will remain long after his death as an institution paralleling some of the great museums and libraries in the world. Viva La Vinyl!

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