The first release on Legendary Sound Research saw the light of the (digital) day on October 5th 2011. 3 years later, we will be in Hong Kong celebrating that moment.
We teamed up with the cool Premium Sofa Club to play some of our greatest tracks, our biggest influences and our favorite artists from now and from the past.
I've got a maximum weight of 30kg to take with me on the plane and I heard the weather is summery in Hong Kong then. Therefore, I'll pack only a few T-shirts and a lot of vinyl with me!
We're also in the manufacturing stage of the 3 Year Anniversary release! A limited edition (99 copies) version of The Legendary 1979 Orchestra - Didn't Invent The Remix featuring a full cover acrylic painting by Ariadna V.!
Pre-order already available at Juno: http://tinyurl.com/juno-lsr007v3y
The first batch of test presses for the forthcoming Selvy "Gotta Have It" EP have a little fault: the A side is from a completely different unknow release. The B side is the real deal though featuring Selvy's "My Soul" and "Untitled". We decided we should give these 3 test pressings away as the first freebe for the Legendary Sound Research Club.
So, join the club HERE! We will draw the winners on May 8th.
PS: snippets available on distributor's website HERE!
I first got aquainted with Marius Popp and his Panoramic Jazz Rock when I was in high-school, and I mean almost literaly. Accross the street from my high-school in Bucharest there was a library, the type where you could borrow books from... it was an art-type library, I think, and it had music section composing of a lot of classical music and a smaller batch of romanian jazz records. Some of my hip-hop friends from back then showed me the record and I took it home.
It was a beaten up copy, story has it that the library had more copies of it, but they all got stolen one by one by beat-heads. I listened to the record at home on my Unitra turntable. Among the pops and clicks and some skips was some of the dopest Romanian jazz I heard to this day. Ever since then I was looking for a copy of the record at the only vinyl selling spot in Bucharest at the time, but the guys there were probably dealing all the copies they found with foreigners. I saw it go for abour 50 GBP at some online stores or for 40 EUR at the Utrecht Record Fair. I can't say I got to active about finding a copy... so it took my a few good years to get my hands on a copy. It was two actually, different Electrecord pressings: one from the 70s and one from the 80s probably. I happened to buy them both at the same time and I was so happy! Apart from the music I also love the artwork of the record, one of the most psychedelic covers that I've seen in Romania. For that reason, I also recently bought an empty cover of the record to hang on the wall in the living room as a reminder of how many years it took me (passed by) to own this.
Late last year the album was issued on limited edition CD for the first time, including 3 never before released tracks. If you'd like a taste of some of the best Romanian jazz you can cop a copy of the CD here.
Here's one of the CD exclusive tracks remastered from tape (circa 1969).
I always look out to buy records in the best quality possible, but is crackle such a big deal? Of course, I don't like to buy a record on discogs or ebay that is advertised as VG+ and ends up being a G, but with some records I realize I do not really mind the crackle.
Having listened to a lot of golden era hip-hop, I guess it's in my sub-conscious that crackle gives extra groove when sampling. Check out the atmosphere the crackle adds to this slowed down sample of Herbie Hancock used by Mobb Deep, sounds just as gutter as they were aiming for.
Or this Raekwon classic with the cracks of the vinyl sample right on swing to help the honey move their bodies on the beat.
I do find that crackle works best with funk and maybe jazz records. For disco or house I like to have it cleaner because in a club setting the crackle might overpower the music, especially if the sound system is tweaked for a lot of highs and high-mids.
For instance, I am now listening to one of my most beat-up records, an original Exit 9 - Straight Up LP that sounds so right with all the crackle in it! The music itsself doesn't sound dirty or muffled and the crackle just reminds me that music is made in and for the real world, not for an empty soundproofed room (even though that would be a great concept too). I did read some research about how hearing is hard to be singled out and obstructed as opposed to sight. If you are in a soundproofed room, you can still hear the sounds you make, but if you're in a pitch black room, you can't see anything.
Anyway, I like crackle, it gives a record personality. I've done quite a few tracks where I left a ton of crackle in the samples I used. I hope people dug the realness! Latest examples of my own crackly tracks:
Deodato's music is a clear example that commercial success doesn't always mean a decrease in quality. Despite the fact that some of his albums from the 70s are quite cheap to come by nowadays, it's always a sure bet! Back when I was a student, Deodato LPs were always a good buy for my budget. I've never been dissapointed by his brazilian influenced jazz-funk. For this reason I think Deodato was like a gateway drug for buying jazz-funk records for me, easy to come by, on the cheap side, music cool enough to get me hooked before I move on to heavier stuff. Some of the Brazil only albums like Percepção or Os Catedraticos/73 aren't cheap but definitely worth it as well!
I still go back to my Deodato LPs with joy and tonight I'm going to see him live here in Amsterdam, I expect a very entertaining show wih a lot of rhodes and even more funk! Here's a few of my favorites from him:
That was actually the password recovery question for an old email address I had to re-access recently. It was funny to realize I will never forget the first record I ever bought. However, in this day and age I actually have two records that kind of fight for that title. One of them is a James Brown (doh!) compilation I picked up on my first physical record shopping outing in Bucharest, Romania, back in autumn 2003. Around the same time, a bit earlier actually, I also pre-ordered online the Viktor Vaughn Vaudeville Villain double LP. It arrived after the James Brown LP, but I still consider VVVV the first record I ever bought. It also came with a limited edition 7 inch as a bonus, those were the good old days! Think I spent like $14 on it. That's cheaper than a house 12" nowadays...
Anyway, this record is more important to me because it still is , musically, one of the best records I ever bought. I am quite a big fan of MF DOOM from the '97-'09 era. And there's also a funny story about the record... I had a shitty Unitra (Polish?) turntable with an even shittier needle back then and I waited for a year with the record sealed before putting a (new) needle on it when I bought a pair of 1200s. When I opened the shrink-wrap I was surprised to find out that the copy I received included the first record twice, so I ended up with two side As and side Bs, instead of also having side C and side D. I ended up buying another copy hoping it would arrive with double side Cs and Ds, but it was just a normal copy.
And so started an addiction that I cherish to this day! From now on I will speak about my experience of collecting, listening to, discovering and last but not least producing records on this part of the website, The (music) Research (blog?). Make sure to check back regularly as I plan to keep the posts coming!
Viktor Vaughn - Saliva
What's your own first record that you ever bought? Does it have a funny story attached to it?