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Retailers of Vinyl, CDs, DVDs etc. through Amazon, Ebay, Discogs, iHaveit, MusicStack and CD & LP. A friend of Help Musicians UK.

Date

January 8, 2020

Happy Birthday to my dear friend David. I, and the world, miss your billiance every day. xM

via The Real Mick Rock https://ift.tt/39Q4S3Z

Happy Birthday to my dear friend David. I, and the world, miss your billiance every day. xM

via The Real Mick Rock https://ift.tt/39Q4S3Z

masagatani An Interview With DJ Prestige From The Film The Hustle Is Real

The Hustle Is Real is a story about creating your own lane to make money doing what you love and the hustle and grind that goes along with it. The film follows a “Working-class DJ”; DJ Prestige as he rocks gigs, grinds out travel, digs for records and does what he does best. The filmmaker Thomas Draudt added:

“As a vinyl collector and “bedroom DJ” I have a lot of interest in music and djing and always wanted to make a short film on this subject. I’ve been a fan of Jamison’s FleaMarketFunk site for a while and after seeing him spin at the SOULELUJAH party in Boston, I approached him about making a film together and here is the result.”

We asked Dj Prestige some questions. This is what we found out:

How did you get into it all?

I started collecting records when I was younger. My dad had a small collection that he brought back from Vietnam that was always in our house. Booker T. and the MGs, The Dells, Isaac Hayes, The Beatles, The Doors, and more. Music was huge in our home. We always had it playing and on Saturday nights whether we had company or not, we listened to the radio or played the stereo. My sister and I were allowed to have a stereo in our rooms, so I started collecting after that. My Uncle Tim (R.I.P.) took me to buy some records at a K Mart, I bought The Police, Men At Work, and a 12” of Eric B. And Rakim’s “Paid In Full” (Cold Cut remix). But honestly, being a kid from the suburbs I was in between NYC and Philly so I could pick up DJs on the radio from both cities and was fascinated by what a DJ was. I made my own pause tapes with a boom box and would play them constantly. I didn’t really put it all together until I saw the Herbie Hancock’s “Rockit” video, where I saw Mixmaster DST scratch. I was off to the races then, consumed by early hip hop, punk rock, all kinds of music I could get my hands on. Records, cassettes, CDs, I just bought everything I could. I couldn’t afford Technics, so I learned (badly) at the Jersey Shore bars, opening for people like G. Love and Special Sauce and The Goats (of “Typical American” fame). I was an on-air DJ at WLFR at Stockton University after that. There was a radio show with a DJ called Marc Asbury. I saw it close up and wanted to do it on my show. The Rap program director (Sure Rock Holmes, R.I.P.) locked all the hip hop 12”s up in a cabinet. I had to find them myself somewhere else. That was a trial by fire that propelled me into record digging. I really wouldn’t get fully into it until about ‘97. I was a co-owner of a skate/ streetwear/ record shop and we put turntables and a system in our lounge. I bought a pair of direct drive Gemini’s from a DJ (who I still DJ with today!) in a Burger King parking lot and eventually learned on them, graduating to a pair of brown Technics 1210’s and a Vestax PMC 05 mixer (from a fellow DJ who needed money fast). I still DJ with those turntables when I bring my own equipment. I started a night, and the music was good, but my DJ skills were bad. From there I just practiced. And practiced. And practiced. I linked up with like-minded individuals (DJ Un-G, DJ Skills) and we all vibed and learned from each other. I owe a lot to those cats, who I’m still close to this day. We got up early, went to flea markets, got every record we could to play out. That was the foundation, really. I played all over NJ, Philly, and a bunch in the LES of NYC. In 2000, I linked up with a major label band on Lava/ Atlantic Records and toured until about 2005. I learned how to use the turntables like an instrument, bought lots of records in my travels, honed my craft. When the band split finally I decided I was going to start FleaMarketFunk.com to write about records and pursue a career as a DJ/ music writer. I was fortunate to open up for people I looked up to (Bad Brains, Q-Tip and more) between then and now. Since then, I have been staying in my lane, playing records wherever people will have me, doing unique DJ nights, learning about records as much as I can on the daily, and promoting independent funk, soul, hip hop, jazz, reggae, and other soulful music through the site.

the-hustle-is-real-1

What was your first record and what age were you when you got it?

The first record given to me was The Rolling Stones England’s Newest Hitmakers from a family friend. The first forty-five I bought with my own money was “Whip It” by Devo.

What is a working-class DJ?

To me, a working-class DJ is someone who puts in the work every week. We DJ at events in all kinds of venues and situations. Whether it’s a corporate event (I’ve done stuff for Adidas, Google, film festivals, etc.), bigger clubs, boutique hotels, small bars, outdoor events, we put in the work. I do not have any representation or manager. I book my own gigs, and between my reputation and the site, I’ve been able to carve out a nice niche for myself. I think of a working-class DJ as someone who stays on their lane, head down and gets work done. I’m happy to get paid to do what I love, but there is always a price to pay. It’s a hustle, which is very real. I realized a long time ago I wasn’t going to be Jazzy Jeff because we already have one. I made my own piece of the pie and was able to work as a DJ playing records I want to people who may or may not know they like these records yet. I feel fortunate to be able to live this life. I’m not the only one doing this. There are many people who are working-class, and I’ve highlighted them in my Big Ups interview series on FleaMarketFunk.com Working on a future book release of the series.

How do you handle the decks at various venues? Do you travel with your own?

Most venues have 1200’s and a mixer. If I need to bring a mixer, I have a Pioneer S9 that I honestly love to death. I see a lot of Pioneer DJM 900 mixers which I really love as well, so I’m pretty happy when the venue gives a shit about the DJ. I’ve seen some crazy setups over the years in bars/ clubs. Good and bad. I always travel with my needles, slip mats, headphones, and of course the vinyl. You try to be as prepared as you can.

What venue to you love playing?

I played in the lobby of the Ace Hotel in NYC for close to ten years which was always fun, even though the sound could get tricky. I do enjoy playing Friends in Lovers in Crown Heights, Brooklyn for my Shake! Party with Monk-One for the last 3.5 years. The sound system is always on point (along with the sound person), and you’re pretty close to the crowd. It’s a good room, good vibes and dancing. Also, the rooftop of the Wythe Hotel in Williamsburg is definitely a great place to play. The view at sunset over Manhattan is second to none in the City.

What’s your best sound system or venue horror story?

I got to play on a sensational sound system for the opening party for the Dust and Grooves book in Brooklyn. It was after we all listened to Quincy Jones Walking in Space with Coleen Murphy from Classic Album Sundays, so you know how they do. She does not mess around with the sound! The new sound system at Asbury Lanes in Asbury Park, NJ is huge, I dig playing there. As far as horror stories, I’ve had my back turned to get a record and had people start scratching the record badly. I’ve had people almost knock the turntables over a million times, people grab mics and try to freestyle, I think I’ve seen it all but there is always something new that happens

 

the-hustle-is-real-2

Genre/Alphabetical/Chronological or other?

Alphabetical by genre, then chronological. I have a jazz section, hip hop section, funk and soul section, Latin + Brazilian section, soundtrack section, reggae section, rock + psych section, and then comedy, electronica, DJ tools, and other sections. Those are just the Lps. My forty-fives are by genre but then by BPM. They are always in a state of controlled chaos depending on how many different gives I have on a weekly basis. I emphasize controlled chaos though.

Most valuable record?

All my records are valuable to me. They all have a story of where and when I got them. They are important to me, so every one record has some kind of value. The most I ever sold a record for was like $2500, so I guess that was my most valuable record moneywise.

Most versatile record?

A record I can always count on where ever I play is Kutiman’s “No Groove Where I Come From”. I got that thing from the Afro~Kats label in the mid-’00s and hadn’t heard many people playing it until DJ Suspect guest DJed at one of my nights a few years ago and let it rip. It’s a funky good time on 45 that gets people moving. I just have to do a self-edit if there are kids around.

Do you use all your records for sets or are some just for you and why?

I try to use all the 45s I buy for various sets. Some cross over which is good. I also buy a lot of LP’s for myself to listen to. I built a good audiophile set up a few years ago and have a listening room, so those records are bought to listen there. A place to read, listen to vinyl, and just shut out the world for a little while.

Do you have a DJ philosophy?

Play records you love and stand behind them. Don’t play records you hate. Find your lane and stay with it. Don’t follow trends. Trust yourself. Learn about at least one new record a day. Surround yourself with good people who you want to work with and don’t compromise your work ethic.

You can do a set with any musician alive or dead who is it and why?

It would be Larry Levan for sure. Just for the pure vibe of the crowd at the Garage and the music that was being played there. Definitely a room that would have been fun to play to. Pure history.

Check out the film:

http://www.thomasdraudt.com/hustle/

the-hustle-is-real-3

The post An Interview With DJ Prestige From The Film The Hustle Is Real appeared first on Discogs Blog.

from Discogs Blog https://ift.tt/2sbkH4k
via IFTTT

masagatani An Interview With DJ Prestige From The Film The Hustle Is Real

The Hustle Is Real is a story about creating your own lane to make money doing what you love and the hustle and grind that goes along with it. The film follows a “Working-class DJ”; DJ Prestige as he rocks gigs, grinds out travel, digs for records and does what he does best. The filmmaker Thomas Draudt added:

“As a vinyl collector and “bedroom DJ” I have a lot of interest in music and djing and always wanted to make a short film on this subject. I’ve been a fan of Jamison’s FleaMarketFunk site for a while and after seeing him spin at the SOULELUJAH party in Boston, I approached him about making a film together and here is the result.”

We asked Dj Prestige some questions. This is what we found out:

How did you get into it all?

I started collecting records when I was younger. My dad had a small collection that he brought back from Vietnam that was always in our house. Booker T. and the MGs, The Dells, Isaac Hayes, The Beatles, The Doors, and more. Music was huge in our home. We always had it playing and on Saturday nights whether we had company or not, we listened to the radio or played the stereo. My sister and I were allowed to have a stereo in our rooms, so I started collecting after that. My Uncle Tim (R.I.P.) took me to buy some records at a K Mart, I bought The Police, Men At Work, and a 12” of Eric B. And Rakim’s “Paid In Full” (Cold Cut remix). But honestly, being a kid from the suburbs I was in between NYC and Philly so I could pick up DJs on the radio from both cities and was fascinated by what a DJ was. I made my own pause tapes with a boom box and would play them constantly. I didn’t really put it all together until I saw the Herbie Hancock’s “Rockit” video, where I saw Mixmaster DST scratch. I was off to the races then, consumed by early hip hop, punk rock, all kinds of music I could get my hands on. Records, cassettes, CDs, I just bought everything I could. I couldn’t afford Technics, so I learned (badly) at the Jersey Shore bars, opening for people like G. Love and Special Sauce and The Goats (of “Typical American” fame). I was an on-air DJ at WLFR at Stockton University after that. There was a radio show with a DJ called Marc Asbury. I saw it close up and wanted to do it on my show. The Rap program director (Sure Rock Holmes, R.I.P.) locked all the hip hop 12”s up in a cabinet. I had to find them myself somewhere else. That was a trial by fire that propelled me into record digging. I really wouldn’t get fully into it until about ‘97. I was a co-owner of a skate/ streetwear/ record shop and we put turntables and a system in our lounge. I bought a pair of direct drive Gemini’s from a DJ (who I still DJ with today!) in a Burger King parking lot and eventually learned on them, graduating to a pair of brown Technics 1210’s and a Vestax PMC 05 mixer (from a fellow DJ who needed money fast). I still DJ with those turntables when I bring my own equipment. I started a night, and the music was good, but my DJ skills were bad. From there I just practiced. And practiced. And practiced. I linked up with like-minded individuals (DJ Un-G, DJ Skills) and we all vibed and learned from each other. I owe a lot to those cats, who I’m still close to this day. We got up early, went to flea markets, got every record we could to play out. That was the foundation, really. I played all over NJ, Philly, and a bunch in the LES of NYC. In 2000, I linked up with a major label band on Lava/ Atlantic Records and toured until about 2005. I learned how to use the turntables like an instrument, bought lots of records in my travels, honed my craft. When the band split finally I decided I was going to start FleaMarketFunk.com to write about records and pursue a career as a DJ/ music writer. I was fortunate to open up for people I looked up to (Bad Brains, Q-Tip and more) between then and now. Since then, I have been staying in my lane, playing records wherever people will have me, doing unique DJ nights, learning about records as much as I can on the daily, and promoting independent funk, soul, hip hop, jazz, reggae, and other soulful music through the site.

the-hustle-is-real-1

What was your first record and what age were you when you got it?

The first record given to me was The Rolling Stones England’s Newest Hitmakers from a family friend. The first forty-five I bought with my own money was “Whip It” by Devo.

What is a working-class DJ?

To me, a working-class DJ is someone who puts in the work every week. We DJ at events in all kinds of venues and situations. Whether it’s a corporate event (I’ve done stuff for Adidas, Google, film festivals, etc.), bigger clubs, boutique hotels, small bars, outdoor events, we put in the work. I do not have any representation or manager. I book my own gigs, and between my reputation and the site, I’ve been able to carve out a nice niche for myself. I think of a working-class DJ as someone who stays on their lane, head down and gets work done. I’m happy to get paid to do what I love, but there is always a price to pay. It’s a hustle, which is very real. I realized a long time ago I wasn’t going to be Jazzy Jeff because we already have one. I made my own piece of the pie and was able to work as a DJ playing records I want to people who may or may not know they like these records yet. I feel fortunate to be able to live this life. I’m not the only one doing this. There are many people who are working-class, and I’ve highlighted them in my Big Ups interview series on FleaMarketFunk.com Working on a future book release of the series.

How do you handle the decks at various venues? Do you travel with your own?

Most venues have 1200’s and a mixer. If I need to bring a mixer, I have a Pioneer S9 that I honestly love to death. I see a lot of Pioneer DJM 900 mixers which I really love as well, so I’m pretty happy when the venue gives a shit about the DJ. I’ve seen some crazy setups over the years in bars/ clubs. Good and bad. I always travel with my needles, slip mats, headphones, and of course the vinyl. You try to be as prepared as you can.

What venue to you love playing?

I played in the lobby of the Ace Hotel in NYC for close to ten years which was always fun, even though the sound could get tricky. I do enjoy playing Friends in Lovers in Crown Heights, Brooklyn for my Shake! Party with Monk-One for the last 3.5 years. The sound system is always on point (along with the sound person), and you’re pretty close to the crowd. It’s a good room, good vibes and dancing. Also, the rooftop of the Wythe Hotel in Williamsburg is definitely a great place to play. The view at sunset over Manhattan is second to none in the City.

What’s your best sound system or venue horror story?

I got to play on a sensational sound system for the opening party for the Dust and Grooves book in Brooklyn. It was after we all listened to Quincy Jones Walking in Space with Coleen Murphy from Classic Album Sundays, so you know how they do. She does not mess around with the sound! The new sound system at Asbury Lanes in Asbury Park, NJ is huge, I dig playing there. As far as horror stories, I’ve had my back turned to get a record and had people start scratching the record badly. I’ve had people almost knock the turntables over a million times, people grab mics and try to freestyle, I think I’ve seen it all but there is always something new that happens

 

the-hustle-is-real-2

Genre/Alphabetical/Chronological or other?

Alphabetical by genre, then chronological. I have a jazz section, hip hop section, funk and soul section, Latin + Brazilian section, soundtrack section, reggae section, rock + psych section, and then comedy, electronica, DJ tools, and other sections. Those are just the Lps. My forty-fives are by genre but then by BPM. They are always in a state of controlled chaos depending on how many different gives I have on a weekly basis. I emphasize controlled chaos though.

Most valuable record?

All my records are valuable to me. They all have a story of where and when I got them. They are important to me, so every one record has some kind of value. The most I ever sold a record for was like $2500, so I guess that was my most valuable record moneywise.

Most versatile record?

A record I can always count on where ever I play is Kutiman’s “No Groove Where I Come From”. I got that thing from the Afro~Kats label in the mid-’00s and hadn’t heard many people playing it until DJ Suspect guest DJed at one of my nights a few years ago and let it rip. It’s a funky good time on 45 that gets people moving. I just have to do a self-edit if there are kids around.

Do you use all your records for sets or are some just for you and why?

I try to use all the 45s I buy for various sets. Some cross over which is good. I also buy a lot of LP’s for myself to listen to. I built a good audiophile set up a few years ago and have a listening room, so those records are bought to listen there. A place to read, listen to vinyl, and just shut out the world for a little while.

Do you have a DJ philosophy?

Play records you love and stand behind them. Don’t play records you hate. Find your lane and stay with it. Don’t follow trends. Trust yourself. Learn about at least one new record a day. Surround yourself with good people who you want to work with and don’t compromise your work ethic.

You can do a set with any musician alive or dead who is it and why?

It would be Larry Levan for sure. Just for the pure vibe of the crowd at the Garage and the music that was being played there. Definitely a room that would have been fun to play to. Pure history.

Check out the film:

http://www.thomasdraudt.com/hustle/

the-hustle-is-real-3

The post An Interview With DJ Prestige From The Film The Hustle Is Real appeared first on Discogs Blog.

from Discogs Blog https://ift.tt/2sbkH4k
via IFTTT

Javi Gómez Martínez Top 30 Most Expensive Items Sold In Discogs Marketplace For November 2019

Happy New Year, everyone! 🎉

We hope Santa has been good and brought you plenty of incredible records straight out of your Wantlist. While we are all fully immersed in this new decade, the Discogs Top 30 most expensive list is always a bit behind so we can verify orders. So today we’ll be revealing the most exclusive items bought in the Discogs Marketplace in November 2019.

The first record that got my attention is number 7. Yes, friends, a super rare record released by Boards Of Canada during Record Store Day 2013 has been sold for $2,300. That’s only $200 under the median sale price that we mentioned a few months ago on our recap of the most expensive Record Store Day releases. If you ask me, it’s a good deal considering that only four copies have been found, with allegedly six copies in existence in total. This is one of the biggest holy grails for collectors worldwide.

Another striking thing about the last few months’ expensive item lists is how classical music is having a moment on Discogs. In October, the number 1 was a record by Beethoven (obviously not recorded by him directly). In November, another classical record reached number 2 and was sold for $3,000. A new golden age for classical music on Discogs? Maybe.

For the rest, you know the drill, plenty of rare Funk/Soul singles up on the list, that suitcase filled with industrial music we saw a couple of years ago, Bathory (because this chart can’t do without them)… I don’t want to spoil anything else for you, so scroll down and let us know in the comments what you think about this month’s most expensive list.

  1. Freedom's Children - Galactic Vibes

    Freedom’s Children – Galactic Vibes

    Sold for $1333.00 Label: Parlophone, Parlophone
    Format: LP, Album
    Country: South Africa
    Released: 1971
    Genres: Rock
    Styles: Psychedelic Rock

  2. Agalloch - Pale Folklore

    Agalloch – Pale Folklore

    Sold for $1350.00 Label: Profound Lore Records
    Format: 2xLP, Album, Whi + Box, Ltd, Num, Woo
    Country: USA & Canada
    Released: 2005
    Genres: Rock
    Styles: Folk Rock, Doom Metal

  3. David Bowie - The Man Who Sold The World

    David Bowie – The Man Who Sold The World

    Sold for $1362.00 Label: Mercury
    Format: LP, Album
    Country: Australia
    Released: 1971
    Genres: Rock
    Styles: Hard Rock, Glam

  4. The Beatles - The Collection

    The Beatles – The Collection

    Sold for $1495.00 Label: Mobile Fidelity Sound Lab, EMI, Capitol Records
    Format: 14xLP, Ltd, Num, RM + Box, Comp
    Country: US
    Released: 1982
    Genres: Rock, Pop
    Styles: Beat, Rock & Roll, Pop Rock, Psychedelic Rock

  5. The Mike Taylor Trio - Trio

    The Mike Taylor Trio – Trio

    Sold for $1578.00 Label: Columbia
    Format: LP, Album, Mono
    Country: UK
    Released: 1967
    Genres: Jazz
    Styles: Contemporary Jazz

  6. Wigwam (3) - Hard N' Horny

    Wigwam (3) – Hard N’ Horny

    Sold for $1648.00 Label: Love Records (4)
    Format: LP, Album
    Country: Finland
    Released: 1969
    Genres: Rock
    Styles: Prog Rock

  7. Catherine Howe - What A Beautiful Place

    Catherine Howe – What A Beautiful Place

    Sold for $1666.00 Label: Reflection (3)
    Format: LP
    Country: UK
    Released: 1971
    Genres: Pop, Folk, World, & Country
    Styles: Folk

  8. Ray Frazier & The Shades Of Madness - I Who Have Nothing (Am Somebody) / Lonliness

    Ray Frazier & The Shades Of Madness – I Who Have Nothing (Am Somebody) / Lonliness

    Sold for $1750.00 Label: Stanson, Stanson
    Format: 7″, Single
    Country: US
    Genres: Funk / Soul
    Styles: Soul, Funk

  9. The Rolling Stones - The Rolling Stones

    The Rolling Stones – The Rolling Stones

    Sold for $1795.00 Label: Mobile Fidelity Sound Lab
    Format: 11xLP, Album, Comp, Ltd, RM + Box, Comp, Ltd, Num
    Country: US
    Released: 1984
    Genres: Rock, Blues
    Styles: Pop Rock, Country Rock, Psychedelic Rock, Rock & Roll, Blues Rock, Rhythm & Blues

  10. Alphataurus - Alphataurus

    Alphataurus – Alphataurus

    Sold for $1823.00 Label: Magma (2)
    Format: LP, Album, Tri
    Country: Italy
    Released: 1973
    Genres: Rock
    Styles: Psychedelic Rock, Prog Rock, Symphonic Rock

  11. Bengt Nordström - Natural Music

    Bengt Nordström – Natural Music

    Sold for $1833.00 Label: Bird Notes
    Format: LP, Album
    Country: Sweden
    Released: 1968
    Genres: Jazz
    Styles: Free Jazz

  12. Anthony

    Anthony “Sangie” Davis & Lee Perry / Devon Irons & Dr. Alimantado – Words / Vampire

    Sold for $1910.00 Label: Black Art
    Format: 12″
    Country: Jamaica
    Released: 1977
    Genres: Reggae
    Styles: Roots Reggae

  13. Bathory - Bathory

    Bathory – Bathory

    Sold for $1943.00 Label: Black Mark Production
    Format: LP, Album, Yel
    Country: Sweden
    Released: 1984
    Genres: Rock
    Styles: Black Metal

  14. Bizet*, Paris Conservatoire Orchestra*, André Cluytens - L'Arlésienne Suites 1 & 2 / Carmen Suite

    Bizet*, Paris Conservatoire Orchestra*, André Cluytens – L’Arlésienne Suites 1 & 2 / Carmen Suite

    Sold for $1944.00 Label: Columbia
    Format: LP
    Country: UK
    Released: 1964
    Genres: Classical

  15. Amancio D'Silva - Integration

    Amancio D’Silva – Integration

    Sold for $1973.00 Label: Columbia
    Format: LP, Album, Mono
    Country: UK
    Released: 1969
    Genres: Jazz
    Styles: Avant-garde Jazz

  16. The Dovers - The Third Eye / Your Love

    The Dovers – The Third Eye / Your Love

    Sold for $2000.00 Label: Miramar Records (2)
    Format: 7″
    Country: US
    Released: 1966
    Genres: Rock
    Styles: Psychedelic Rock, Garage Rock

  17. The Runaways (4) - 18th Floor Girl / Your Foolish Ways

    The Runaways (4) – 18th Floor Girl / Your Foolish Ways

    Sold for $2000.00 Label: Alamo Audio Company
    Format: 7″
    Country: US
    Released: 1966
    Genres: Rock
    Styles: Garage Rock

  18. Nat Hall - You Don't Know (Just How I Feel)

    Nat Hall – You Don’t Know (Just How I Feel)

    Sold for $2000.00 Label: Loop Records (8)
    Format: 7″
    Country: US
    Released: 1966
    Genres: Funk / Soul
    Styles: Rhythm & Blues, Soul

  19. Masayuki Takayanagi And New Direction Unit - Eclipse = 侵蝕

    Masayuki Takayanagi And New Direction Unit – Eclipse = 侵蝕

    Sold for $2025.00 Label: Iskra Records (2)
    Format: LP
    Country: Japan
    Released: 1975
    Genres: Jazz
    Styles: Free Improvisation

  20. Enesco* - Plays Bach Sonatas

    Enesco* – Plays Bach Sonatas

    Sold for $2030.00 Label: Continental (6)
    Format: 3xLP, Mono + Box
    Country: US
    Released: 1950
    Genres: Classical
    Styles: Baroque

  21. The Brain Police* - The Brain Police

    The Brain Police* – The Brain Police

    Sold for $2087.00 Label: K.B. Artists
    Format: LP, Album
    Country: US
    Released: 1968
    Genres: Rock
    Styles: Garage Rock, Psychedelic Rock

  22. Various - Untieddiaries 1979-87

    Various – Untieddiaries 1979-87

    Sold for $2200.00 Label: United Dairies
    Format: 32xCass, Comp, Ltd, Sui
    Country: UK
    Released: 1987
    Genres: Electronic, Rock
    Styles: Industrial, Ambient, Experimental, Musique Concrète, Noise, Abstract, Avantgarde, Krautrock

  23. Michael Cosmic - Peace In The World

    Michael Cosmic – Peace In The World

    Sold for $2300.00 Label: Cosmic Records (10)
    Format: LP, Album
    Country: US
    Released: 1974
    Genres: Jazz
    Styles: Free Jazz

  24. Boards Of Canada - ------ / ------ / ------ / XXXXXX / ------ / ------

    Boards Of Canada – —— / —— / —— / XXXXXX / —— / ——

    Sold for $2300.00 Label: Warp Records
    Format: 12″, S/Sided
    Country: UK & US
    Released: 2013
    Genres: Electronic
    Styles: Ambient

  25. Bengt Nordström - Sounds Of Life /Corsica

    Bengt Nordström – Sounds Of Life /Corsica

    Sold for $2367.00 Label: Bird Notes
    Format: LP
    Country: Sweden
    Genres: Jazz
    Styles: Free Jazz

  26. David Bowie - The Man Who Sold The World

    David Bowie – The Man Who Sold The World

    Sold for $2444.00 Label: Mercury, Mercury
    Format: LP, Album
    Country: UK
    Released: 1971
    Genres: Rock
    Styles: Classic Rock, Glam

  27. The Grey Imprint - Do You Get The Message? / The Other Side

    The Grey Imprint – Do You Get The Message? / The Other Side

    Sold for $2777.00 Label: ClearHill Records
    Format: 7″, Single
    Country: US
    Released: 1969
    Genres: Funk / Soul
    Styles: Soul

  28. Little Nicky Soul - I Wanted To Tell You / You Said

    Little Nicky Soul – I Wanted To Tell You / You Said

    Sold for $2800.00 Label: Shee Records
    Format: 7″, Single, Promo
    Country: US
    Genres: Funk / Soul
    Styles: Soul

  29. Michael Rabin, Leon Pommers - Mosaics

    Michael Rabin, Leon Pommers – Mosaics

    Sold for $3000.00 Label: Capitol Records, Capitol Records
    Format: LP, Album
    Country: UK
    Released: 1959
    Genres: Classical

  30. Robert Tanner - Sweet Memories

    Robert Tanner – Sweet Memories

    Sold for $4605.00 Label: Megatone
    Format: 7″, Single
    Country: US
    Released: 1970
    Genres: Funk / Soul
    Styles: Soul

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Freya Parr Tippett’s secret involvement with the violent Trotskyist left wing

Rating: 
0

Who was Tippett?

What a complex man Michael Tippett was to bring to life, a person of infinite variety. Most who can remember him today speak of the vivid, slightly cultivated persona that he showed to the public, one of risqué jokes and frequent giggles, calling everyone ‘love’ and turning up to first-night parties in pink trainers. He achieved a mainstream celebrity unusual for composers, appearing, in his eighties, on Terry Wogan’s chat show alongside George Michael, wearing a cowboy hat and seeming more comfortably ‘out’ than Wham’s lead singer.

One challenge in writing Tippett’s biography was to dig beneath the entertaining anecdotes about this Grand Old Man of British Music (who seemed neither Grand, Old, nor markedly British), and find what sorrows and secrets were stowed away beneath his cheerfulness. The main events of his life were well known, not least the two months he spent in Wormwood Scrubs during World War II for refusing to comply with the terms of his exemption from military service. But much else was murky, and I became especially intrigued by his political activities in the 1930s, that decade of political division so often said to mirror our own.

Tippett lived many lives before settling down to composition. He wrote his first ‘official’ work when he was 30, and was not able to devote his time to composition until he was 46. Yet a recent airing of his Symphony in B flat (written when he was 28 and later withdrawn) revealed an ambitious and more-than-competent work, and his originality of mind and devotion to composition were apparent even when he was at school. Hardly the typical attributes of a late starter.

 

 

Involvement with the Communist Party

Like so many left-leaning artists of his generation, faced with the fall-out of the Great Depression and with the real and growing prospect of fascism, Tippett had been for a while a card-carrying member of the Communist Party. He soon found the aims of Marxism incompatible with the news coming from Russia of Stalin’s repression, and his views quickly settled themselves on the side of the exiled Leon Trotsky. While Stalin preached ‘Socialism in one country’ (the Soviet Union), Trotskyists were committed to perpetual and worldwide revolution.

Tippett’s correspondence of the time glitters with revolutionary fire, and an approval of needful insurrectionary violence. He was certain in his belief – typical for a Trotskyist of the day – that it was better to overturn the British Empire than the German dictatorship. ‘My one hope is that the British Empire will go under and Hitler win […]. I hate the Empire as I hate nothing else. It is the key pin of world capitalism and it’s our job to bring it to the ground.’

 

 

Trotskyism

But, says Ian Kemp’s official – and composer-approved – account of Tippett’s life, ‘he never joined a Trotskyist party and never got involved with sticky political in-fighting’. Neither statement is true. I had come across glancing references to Tippett’s having been a member of the Youth Militant Group, a Trotskyist party in the Labour Party that eventually numbered several hundred members nationally.

My research took me to the collections of left-wing political papers at the Modern Records Centre at Warwick University and at the Hull History Centre. I soon became cross-eyed at the pile of flimsy brown sheets, dense with thorny thickets of political acronym and Marxist commentary. And then, suddenly, there he was: ‘The fact that the Militant Group now have principled differences with the policy of our international organisation was admitted by Comrade James in a conversation with Comrades Harber and Tippet [sic], when he stated…’

Again and again I found him, misspelled and otherwise, mentioned as working at the very heart of the Youth Militant Group, his name bracketed with the Group’s leader, Denzil Harber, clearly senior enough to take part in discussions of policy at the highest level. Here he was travelling to southern France, to smuggle money over the border to help oppressed Trotskyists in the Spanish Civil War. Here was article after article in the Group’s magazine, usually under the title of ‘Notes of the Month, by MT’: ‘Lead the workers to take the offensive against Fascism with a workers’ militia!’

Eventually the Youth Militant Group was riven by ‘the Lee Affair’ in which a member, Ralph Lee, was falsely accused of stealing funds. Tippett was part of a faction that walked out in support of Lee; I discovered two long statements he delivered at national meetings, claiming that the trouble was preventing members from undertaking ‘the future illegal work of the rapidly approaching war’. Tippett became a founder member of a breakaway party, the Workers’ International League, signing his name to their manifesto alongside the infamous, and later disgraced, activist Gerry Healy – from whom, in later life, he may have wished to distance himself.

 

 

At one point it seems a bundle of letters written by Trotsky himself was sent mistakenly to Tippett’s bungalow in Surrey, an indication of his involvement, however peripheral, at the highest levels of the revolutionary left. And, just before the eruption of World War II, and as relations between Stalinists and Trotskyists grew from bad to worse, Tippett was warned by the British Trotskyists Secreteriat that the Russian Secret Police had his address under surveillance.

I found a letter from the mid-1930s in which Tippett, later famous for his devoted pacifism, wrote: ‘I am not a pacifist but a military enthusiast – for the war on capitalist ideology, frustrations, injustices, hypocrisies, etc etc – and war to the knife, to the death if need be […] one brings the house down in order to clear the ground for a “better” one.’ Or another, reacting to the government’s commitment to rearmament: ‘by all means prepare your white paper, and when we get the guns so built, we will shoot you with them.’ Blazing letters such as these gave little hint of the irresistible fun of Tippett’s personality, his dazzling charm, his sheer likeability.

 

Revelations

Little to none of this was known, and I had to take a deep breath before putting it into print. None of it makes easy reading, and none of it should be taken out of context. Think, for example, of Auden’s withdrawn poem Spain, in which the poet wrote of ‘the conscious acceptance of guilt in the necessary murder’. Tippett was one of a generation of artists who were thrown politically off-the-rails by the looming spectre of fascism. But what sense this decade of political activism makes of his music and its slow beginnings! Examination of his unpublished manuscripts (over 30 of these) reveals the politics bleeding temporarily into the work.

 

 

The Influence of Politcs on Tippett's Music  

Much of Tippett’s musical activity prior to 1935 had sprung out of his involvement with work camps set up to employ and inspire the mining communities of North Yorkshire, blighted by depression and unemployment. In 1934, before he had entirely abandoned his support of Stalin’s policies, he wrote for them his early opera Robin Hood. Sprinkled throughout are folk songs with newly written lyrics in which, like green vegetables tucked into a child’s mashed potato, Tippett included veiled references to Uncle Joe’s ‘five-year’ agricultural plan for the Soviet Union.

The rhythmic invention at which he arrived in his String Quartet No. 1 seemed to be put on hold, as he wrote first a Trotskyist agitprop play entitled War Ramp, and then composed scores for agitprop ballets, one orchestrated ‘for a very odd collection of wood blocks, tin cans, etc’. A setting of Blake’s A Song of Liberty, which praises the revolutions in Europe and America, seems to be nothing short of Tippett’s call to arms: 63 pages of thorny recitative finally conclude that ‘empire is no more’. Political involvement acted like a dam, diverting the course of his compositions for the best part of a decade. All of these incendiary scores he eventually destroyed or withdrew.

 

 

A Child of Our Time

Even his famous oratorio A Child of Our Time, inspired by the assassination of a Nazi official by the Polish-Jewish refugee Herschel Grynszpan, and the resulting ‘Kristallnacht’ pogrom, is cast in a striking new light by knowledge of Tippett’s political involvement. Grynszpan, universalised in the oratorio as society’s outcast, was regarded by Tippett as the ideal: the youth who turns a gun on authority. Trotsky stated his ‘open moral solidarity’ with Grynszpan, concluding that the attack ‘may serve as an example for every young revolutionist’.

Even Tippett’s famous idea of studding the work with spirituals, as contemporary parallels to the Lutheran chorales in Bach’s Passions, recalls his political work in the previous decade. He had become involved with a number of politically inclined pageants, vast affairs with casts of thousands staged in venues such as the Wembley Stadium or the Crystal Palace, and had worked with the theatrical-duo Edward Genn and Matthew Anderson, whose Lancashire Cotton Pageant, performed in Manchester in 1932, had included spirituals. Among his close friends of the time was composer Alan Bush, who had reconfigured Handel’s oratorio Belshazzar as a political pageant at the Scala Theatre in Camden; the structural basis of A Child of Our Time was Handel’s Messiah.

 

 

But as A Child of Our Time progressed, Tippett was emotionally recalibrating himself. He quickly turned his back on a belief in the needful violence of revolution, coming to think his Trotskyism was merely a projection of inner turmoil, especially when a consuming love affair stuttered to a painful halt. A period of Jungian therapy eased his heart, and the looming prospect of war focused his mind. He was able to give up his revolutionary politics and, with uncanny synchronicity, embarked upon his first ‘mature’ works.

A Child of Our Time comes from a political mind on the cusp, daringly sympathetic towards a murderous figure, portraying an act that its composer would once have believed justifiably violent, but inviting the conclusion that no good political effect has been achieved bar further suffering. By the time Tippett completed the oratorio’s composition, he was devoting himself to the Peace Pledge Union, and the final spiritual, ‘Deep River’, longs for a ‘land where all is peace’.

 

 

The oratorio lay in a drawer until its premiere, in Blitz-crushed London, in March 1944, by which time its composer had been to prison. Reviews were favourable; Tippett had begun his slow journey to acclaim. By 1948 he was happily undertaking a commission to celebrate the birth of Prince Charles. The extent of his Trotskyism was a well-kept secret. The initials of the British Empire, which he had once hated so much, were soon swagged around his name as he was made a CBE. A knighthood followed, accepted with a cheery scepticism.

Through his long career, as he first destroyed and then rebuilt the billowing lyricism of his earliest works, he seemed to undergo that peculiar mellowing that comes to most successful artists, as they shift from left-wing rebel to establishment figure – although, if his outfits and, most of all, his music are anything to go by, joining an establishment was simply a means of probing it from within. His strange journey from national traitor to national treasure was complete.

 

Oliver Soden is the author of Michael Tippett: The Biography (Weidenfeld & Nicolson)

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via IFTTT

Freya Parr Tippett’s secret involvement with the violent Trotskyist left wing

Rating: 
0

Who was Tippett?

What a complex man Michael Tippett was to bring to life, a person of infinite variety. Most who can remember him today speak of the vivid, slightly cultivated persona that he showed to the public, one of risqué jokes and frequent giggles, calling everyone ‘love’ and turning up to first-night parties in pink trainers. He achieved a mainstream celebrity unusual for composers, appearing, in his eighties, on Terry Wogan’s chat show alongside George Michael, wearing a cowboy hat and seeming more comfortably ‘out’ than Wham’s lead singer.

One challenge in writing Tippett’s biography was to dig beneath the entertaining anecdotes about this Grand Old Man of British Music (who seemed neither Grand, Old, nor markedly British), and find what sorrows and secrets were stowed away beneath his cheerfulness. The main events of his life were well known, not least the two months he spent in Wormwood Scrubs during World War II for refusing to comply with the terms of his exemption from military service. But much else was murky, and I became especially intrigued by his political activities in the 1930s, that decade of political division so often said to mirror our own.

Tippett lived many lives before settling down to composition. He wrote his first ‘official’ work when he was 30, and was not able to devote his time to composition until he was 46. Yet a recent airing of his Symphony in B flat (written when he was 28 and later withdrawn) revealed an ambitious and more-than-competent work, and his originality of mind and devotion to composition were apparent even when he was at school. Hardly the typical attributes of a late starter.

 

 

Involvement with the Communist Party

Like so many left-leaning artists of his generation, faced with the fall-out of the Great Depression and with the real and growing prospect of fascism, Tippett had been for a while a card-carrying member of the Communist Party. He soon found the aims of Marxism incompatible with the news coming from Russia of Stalin’s repression, and his views quickly settled themselves on the side of the exiled Leon Trotsky. While Stalin preached ‘Socialism in one country’ (the Soviet Union), Trotskyists were committed to perpetual and worldwide revolution.

Tippett’s correspondence of the time glitters with revolutionary fire, and an approval of needful insurrectionary violence. He was certain in his belief – typical for a Trotskyist of the day – that it was better to overturn the British Empire than the German dictatorship. ‘My one hope is that the British Empire will go under and Hitler win […]. I hate the Empire as I hate nothing else. It is the key pin of world capitalism and it’s our job to bring it to the ground.’

 

 

Trotskyism

But, says Ian Kemp’s official – and composer-approved – account of Tippett’s life, ‘he never joined a Trotskyist party and never got involved with sticky political in-fighting’. Neither statement is true. I had come across glancing references to Tippett’s having been a member of the Youth Militant Group, a Trotskyist party in the Labour Party that eventually numbered several hundred members nationally.

My research took me to the collections of left-wing political papers at the Modern Records Centre at Warwick University and at the Hull History Centre. I soon became cross-eyed at the pile of flimsy brown sheets, dense with thorny thickets of political acronym and Marxist commentary. And then, suddenly, there he was: ‘The fact that the Militant Group now have principled differences with the policy of our international organisation was admitted by Comrade James in a conversation with Comrades Harber and Tippet [sic], when he stated…’

Again and again I found him, misspelled and otherwise, mentioned as working at the very heart of the Youth Militant Group, his name bracketed with the Group’s leader, Denzil Harber, clearly senior enough to take part in discussions of policy at the highest level. Here he was travelling to southern France, to smuggle money over the border to help oppressed Trotskyists in the Spanish Civil War. Here was article after article in the Group’s magazine, usually under the title of ‘Notes of the Month, by MT’: ‘Lead the workers to take the offensive against Fascism with a workers’ militia!’

Eventually the Youth Militant Group was riven by ‘the Lee Affair’ in which a member, Ralph Lee, was falsely accused of stealing funds. Tippett was part of a faction that walked out in support of Lee; I discovered two long statements he delivered at national meetings, claiming that the trouble was preventing members from undertaking ‘the future illegal work of the rapidly approaching war’. Tippett became a founder member of a breakaway party, the Workers’ International League, signing his name to their manifesto alongside the infamous, and later disgraced, activist Gerry Healy – from whom, in later life, he may have wished to distance himself.

 

 

At one point it seems a bundle of letters written by Trotsky himself was sent mistakenly to Tippett’s bungalow in Surrey, an indication of his involvement, however peripheral, at the highest levels of the revolutionary left. And, just before the eruption of World War II, and as relations between Stalinists and Trotskyists grew from bad to worse, Tippett was warned by the British Trotskyists Secreteriat that the Russian Secret Police had his address under surveillance.

I found a letter from the mid-1930s in which Tippett, later famous for his devoted pacifism, wrote: ‘I am not a pacifist but a military enthusiast – for the war on capitalist ideology, frustrations, injustices, hypocrisies, etc etc – and war to the knife, to the death if need be […] one brings the house down in order to clear the ground for a “better” one.’ Or another, reacting to the government’s commitment to rearmament: ‘by all means prepare your white paper, and when we get the guns so built, we will shoot you with them.’ Blazing letters such as these gave little hint of the irresistible fun of Tippett’s personality, his dazzling charm, his sheer likeability.

 

Revelations

Little to none of this was known, and I had to take a deep breath before putting it into print. None of it makes easy reading, and none of it should be taken out of context. Think, for example, of Auden’s withdrawn poem Spain, in which the poet wrote of ‘the conscious acceptance of guilt in the necessary murder’. Tippett was one of a generation of artists who were thrown politically off-the-rails by the looming spectre of fascism. But what sense this decade of political activism makes of his music and its slow beginnings! Examination of his unpublished manuscripts (over 30 of these) reveals the politics bleeding temporarily into the work.

 

 

The Influence of Politcs on Tippett's Music  

Much of Tippett’s musical activity prior to 1935 had sprung out of his involvement with work camps set up to employ and inspire the mining communities of North Yorkshire, blighted by depression and unemployment. In 1934, before he had entirely abandoned his support of Stalin’s policies, he wrote for them his early opera Robin Hood. Sprinkled throughout are folk songs with newly written lyrics in which, like green vegetables tucked into a child’s mashed potato, Tippett included veiled references to Uncle Joe’s ‘five-year’ agricultural plan for the Soviet Union.

The rhythmic invention at which he arrived in his String Quartet No. 1 seemed to be put on hold, as he wrote first a Trotskyist agitprop play entitled War Ramp, and then composed scores for agitprop ballets, one orchestrated ‘for a very odd collection of wood blocks, tin cans, etc’. A setting of Blake’s A Song of Liberty, which praises the revolutions in Europe and America, seems to be nothing short of Tippett’s call to arms: 63 pages of thorny recitative finally conclude that ‘empire is no more’. Political involvement acted like a dam, diverting the course of his compositions for the best part of a decade. All of these incendiary scores he eventually destroyed or withdrew.

 

 

A Child of Our Time

Even his famous oratorio A Child of Our Time, inspired by the assassination of a Nazi official by the Polish-Jewish refugee Herschel Grynszpan, and the resulting ‘Kristallnacht’ pogrom, is cast in a striking new light by knowledge of Tippett’s political involvement. Grynszpan, universalised in the oratorio as society’s outcast, was regarded by Tippett as the ideal: the youth who turns a gun on authority. Trotsky stated his ‘open moral solidarity’ with Grynszpan, concluding that the attack ‘may serve as an example for every young revolutionist’.

Even Tippett’s famous idea of studding the work with spirituals, as contemporary parallels to the Lutheran chorales in Bach’s Passions, recalls his political work in the previous decade. He had become involved with a number of politically inclined pageants, vast affairs with casts of thousands staged in venues such as the Wembley Stadium or the Crystal Palace, and had worked with the theatrical-duo Edward Genn and Matthew Anderson, whose Lancashire Cotton Pageant, performed in Manchester in 1932, had included spirituals. Among his close friends of the time was composer Alan Bush, who had reconfigured Handel’s oratorio Belshazzar as a political pageant at the Scala Theatre in Camden; the structural basis of A Child of Our Time was Handel’s Messiah.

 

 

But as A Child of Our Time progressed, Tippett was emotionally recalibrating himself. He quickly turned his back on a belief in the needful violence of revolution, coming to think his Trotskyism was merely a projection of inner turmoil, especially when a consuming love affair stuttered to a painful halt. A period of Jungian therapy eased his heart, and the looming prospect of war focused his mind. He was able to give up his revolutionary politics and, with uncanny synchronicity, embarked upon his first ‘mature’ works.

A Child of Our Time comes from a political mind on the cusp, daringly sympathetic towards a murderous figure, portraying an act that its composer would once have believed justifiably violent, but inviting the conclusion that no good political effect has been achieved bar further suffering. By the time Tippett completed the oratorio’s composition, he was devoting himself to the Peace Pledge Union, and the final spiritual, ‘Deep River’, longs for a ‘land where all is peace’.

 

 

The oratorio lay in a drawer until its premiere, in Blitz-crushed London, in March 1944, by which time its composer had been to prison. Reviews were favourable; Tippett had begun his slow journey to acclaim. By 1948 he was happily undertaking a commission to celebrate the birth of Prince Charles. The extent of his Trotskyism was a well-kept secret. The initials of the British Empire, which he had once hated so much, were soon swagged around his name as he was made a CBE. A knighthood followed, accepted with a cheery scepticism.

Through his long career, as he first destroyed and then rebuilt the billowing lyricism of his earliest works, he seemed to undergo that peculiar mellowing that comes to most successful artists, as they shift from left-wing rebel to establishment figure – although, if his outfits and, most of all, his music are anything to go by, joining an establishment was simply a means of probing it from within. His strange journey from national traitor to national treasure was complete.

 

Oliver Soden is the author of Michael Tippett: The Biography (Weidenfeld & Nicolson)

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via IFTTT

FabulousFlipSides Fabulous Flip Sides – The Fabulous Thunderbirds – Interview with Jimmie Vaughan

We look back on both sides of the 1986 “Tuff Enuff” Top 10 single, discuss Jimmie’s new Grammy nominated blues album, and learn about an upcoming artwork tribute to the blues guitar brothers Jimmie and Stevie Ray Vaughan in Texas. …

The post Fabulous Flip Sides – The Fabulous Thunderbirds – Interview with Jimmie Vaughan appeared first on Goldmine Magazine.

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