Saturday, April 17, 2010

Herbs light up the court

Reggae band Herbs is currently involved in legal action against former members also using a similar name - Pacific Herbs. The latter band played at Rotorua's Raggamuffin Festival, while Herbs were playing the same weekend at the Parihaka Peace Festival in Taranaki.

"Herbs band members Dilworth Karaka, Joseph Lundon, Morehu Watene, Gordon Joll, Toni Fonoti and Thomas Nepia have begun legal action against two former members - Spencer Fusimalohi and Carl Perkins - with promoter Andrew McManus Presents about what they allege is misuse of the band's name .... the dispute has continued for many years with band members unhappy with their former colleagues' continued use of the band name when they perform.

"It's understood the row came to a head in January when Fusimalohi and Perkins performed as Pacific Herbs at Rotorua's Ragamuffin festival ... They were in the band for less than five years of its 30-year history and are among more than a dozen former members." Source: Weekend Herald.

Graham Reid asked in a 2002 article on the release of a Herbs Best Of compilation "Did they ever break up? Who knows, but few could hear of the death of founder drummer Fred Faleauto last year or that of internationally acclaimed bassist Charlie Tumahai (who joined in ‘85) without reflecting on the enormous contribution to New Zealand music Herbs made." Source.

Homebrew need a dollar or two


Can you help?
Local hiphop crew got turned down by NZ On Air for their video grant, but they aint sulking (much), no sir. They've talked Chris Graham into directing the video for free, and now they're having a fundraiser to make some money to pay for the video. Get along tonight and help them out - Plaything Gallery (opposite Kings Arms), from 6pm til midnight, cheap booze, lotsa cool acts. Flyer above, and watch the promo for it. Homebrew have a go at busking, knocking off Dobbyn's Loyal and Exponents' Why does love..' classics for maximum comic effect.


HOMEBREW - A LITTLE BOY WAITS... from Askew One on Vimeo.

Ring The Alarm playlist, BaseFM April 17

Sunlightsquare latin  combo - I believe in miracles inst
Bill Withers - You got the stuff
Sharon Jones and the Dapkings - Better things
Belleruche  - 56% proof
Born Jamericans - Yardcore
Architeq - Birds of prey dub version
Mos dub - History town (download it here)
Damian Marley  -Move
Jo Jo Bennett  - Canteloupe rock
Adrian Sherwood and Lee Scratch Perry - Kingston tower
Jahdan Blakkamore - The general - Ticklah mix
Staff benda bilili - Sala mosala
Simonsound - Bakers dozen / It's just begun
Barkin soul  -Babybababebe
Shawn Lee and Bei Bei  -East
Al Green - I'm so glad your mine
Wild Bill Ricketts - Riki
Blundetto - Nautilius dub version
Lever bros steel band - Black man cry
Daru Jones feat Kissey Asplund - Please
Candi Staton - Do your duty - Pepe Bradock reowk
Gil Scott Heron - New York is killing me feat Nas
Pilooski - AAA
Sly n Robbie - Softcore surge - Ashley Beedle remix
Mos dub  -Travellin underground/history town (so nice I gotta play it twice)

Friday, April 16, 2010

Row over radio royalties drags on

The NZ Herald's John Drinnan reports on this long-running dispute between the Radio Broadcasters Association and PPNZ (representing the 4 major record co's) over royalty rates.

"The row over radio royalties harks back to last year when the radio industry challenged PPNZ price rises that might cost $9 million a year in a case heard by the Copyright Tribunal. The tribunal's decision has yet to released....

"Radio bosses are tuning up to buy music rights directly from record companies if a claim to the Copyright Tribunal falls over.
The Radio Broadcasters Association (RBA) says that is what will happen if a long-delayed tribunal case goes against them and upholds price rises by Phonographic Performances New Zealand (PPNZ)...."

Read the full article here.

DJ Food goes to Slough


This is a tale of a room full of master tapes from late last century, from the ZTT record label. Read on...

"Back in the winter of 2009, on a bleak, windy Monday, I died and went to heaven. Actually, I tell a lie, it was Slough... I’d been invited by my friend Ian Peel to visit him at an address owned by the record label ZTT – home of Trevor Horn, his associated productions as well as the back catalogue of Stiff records, which they acquired in the mid 80’s...

For those unaware, (probably most of you) Frankie Goes To Hollywood, and more importantly the whole aesthetic of the ZTT label in the 80’s, had a huge effect on me in my formative years. Most people have one or two bands that they ‘grew up’ with, moments where a bands rise to fame and the mania that surrounded them dovetailed with your own musical tastes and that group becomes forever linked with your memories of the period. For most of ‘84 and ‘85 I bought little else than the bands on the ZTT roster, Frankie, Art of Noise, Propaganda, Grace Jones’ incredible Slave To The Rhythm LP, even venturing into contemporary classical waters with Andrew Poppy, and of course, the Frankie Say… T-shirts....

Go read the whole story here, and how DJ Food ended up owning the original cover art for Frankie's ‘Welcome To The Pleasuredome’ album. Lotsa pics of old master tapes for Art of Noise, Frankie, Fairlight disks for Art of Noise etc.

Tour de Mars


Tour de Mars by The Simonsound has been doing my head in for a few weeks now. I copped this single recently, a mad funky synth freakout that hooks into Tour De France by Kraftwerk and boxes it round the ears soundly. Turns out one of the cats behind the Simonsound is DJ Format, a well-funky geezer. They also name drop the coolest Moog cover version ever, Dick Hyman’s take on James Brown’s “Give it up or Turn it Loose”. That makes them well cool in my books.

Listen to their music here. Tour de Mars is there too, or watch the funky space vid below. Their album is set to drop May 24.



"The Simonsound’s first album, “Reverse Engineering”, offers an intriguing variety of sounds, including ’50s and ’60s-inspired space music, mood music for film and TV, haunting vocal tracks, and switched-on cover versions of classics realised on the Moog synthesiser.

The Simonsound is a sonic partnership consisting of Simon James and Matt Ford. Having previously worked together on Matt’s DJ Format albums and with infinitely broader musical tastes than just hip hop and funk, they began working on The Simonsound as an outlet for their more experimental offerings. This is far from another DJ Format project.

Matt and Simon both cite Dick Hyman’s crazy Moog take on James Brown’s “Give it up or Turn it Loose” as a big inspiration, representing the perfect meeting of experimental electronics and solid rhythm section. They created their own homage to it with a take on the classic b-boy anthem, “It’s Just Begun” by The Jimmy Castor Bunch, replacing the original’s soulful vocals, gritty rhythm and horn sections with heavy Moog synthesiser and electronic sounds that place you firmly in outer space."

Album out May 24 on First Word Records. The Tour de Mars/Bakers dozen single is out now. You can buy it from Soundcloud for a few measly bucks.

First Word Records is also home to the Ariya Astrobeat Arkestra, a bunch of cats from Leeds who have just dropped their debut single, a mean version of Jimi's Crosstown Traffic done afrobeat style. It's wicked.

BONUS Just found this  - Tour de Mars (DJ Food video re-edit)

Thursday, April 15, 2010

Free tune from The Midnights

Auckland reggae outfit The Midnights are about to drop their debut album very soon. I did a remix for them a while back, and they're a top bunch of fellas. You can grab a sample of their new album for free, from Amplifier.

Just log in and you're  away. Have a listen and then get it here.

Tour dates here.

New music channel on Freeview

UPDATED/CORRECTED: C4 is launching a new music channel via Freeview, called C4-2.

" C42 will be launched on May 1st, to celebrate the start of NZ Music Month and will offer... up to 30 per cent local content. C42 will feature back to back alternative music videos, without hosts.

An arrangement between MediaWorks and PPNZ will ensure videos and artists represented by IMNZ (the New Zealand trade body for independent record labels and distributors) represent a larger portion of the playlist."
 
I have heard that 60% of the videos screened will come from IMNZ members. The remaining 40% will be divided amongst the major record label owners and other (non-IMNZ) PPNZ members.

CORRECTED: Any content owner that has their music video played on C42 will not receive royalty payments from PPNZ (prev version said :Any IMNZ/PPNZ content owner that has their music video played on C42 will not receive royalty payments from PPNZ).

In exchange for no royalties, IMNZ members get: first six months 4 x 30 second ad spots to air each hour 4pm to 12 = 224 spots a week. After six months this will increase to 8 x 30 second (4 mins) per hour. And IMNZ are charging to 'administer' the ads.

ADDED: Other PPNZ members (those not majors, nor IMNZ members) don't get the advertising.
 
Read the press release here.

NZ Herald's media columnist John Drinnan speculated on March 26 that Mediaworks was expected to announce a new music channel on Freeview, saying that "MediaWorks is obliged to deliver a second digital channel, but there has been speculation on how it can afford it." A music channel with no hosts is a low cost option.

ADDED: From Drinnan's column dated April 16, on the new channel... "The deal gives MediaWorks time to get advertisers on board. The no-charge deal on some music means the videos can act as free promotions. C4-2 is aiming at 30 per cent local content. Music lawyer Hocquard said he had concerns about the terms of the deal which implies airplay for music had a promotional value. Hocquard did not specify his concerns but radio stations made a similar claim when trying to undermine PPNZ price rises on licences for radio play."

Record Store Day this saturday!


"indie music stores are a hotbed of discovery... and bacteria..."

Record stores are about community. Sure, digital music may be the way of the future, but searching for records is a tangible experience that harbours one great truth - you never know what you are gonna find. And like Gabe Roth (Dapkings, Daptone) says, you can't roll a joint on an mp3.  Go visit your local record store this saturday and have some fun.

You can check out Lewis McCallum doing an instore gig up at Conch Records, at 115a Ponsonby Rd, and they've got DJs playing all day. Lewis is on at 2pm - his new album Syntheology is a dirty funky sexy jam. Details here.

And downtown in Auckland, Real Groovy has a host of people DJing the music they grew up with - expect to see Roger Shepherd, Nick D, Andrew Tidball,  Roger Perry, Liam Finn, Recloose and more behind the decks.

Check the lineup here, and if you buy something instore on Saturday, you'll get a free ticket to a special gig Real Groovy are hosting at the Kings Arms that night. There's also events going on at Real Groovy Wellington and Christchurch. There's a list of NZ stores participating here...

More info at recordstoreday.com. Or just watch this informative clip from Mister Josh Homme (the official Record Store Day Ambassador)... that's his quote up top...





Amadou & Mariam, “Aritstiya (DJ Sabo RMX)” MP3

Grab it here. And here's a bonus - Stink Inc has a killer edit by Pilooski. Original is 'Angie La La (Ay Ay Ay)' by Nora Dean, released on Treasure Isle in 1969 as the b-side to U Roy's staggering 'Tom Drunk' says the Stenchmiester.

Wednesday, April 14, 2010

PiL on Jimmy Kimmel Show

John Lydon chats with chat show host Jimmy Kimmel, talks about how the PiL reunion was funded by the UK butter ad he did, no record company backing here! You can watch the band play Rise and This is not a love song over here.

Interview clips below. "Jimmy, I'm sorry, but I used your show to rehearse!" The band have only had 4 hours rehearsal since Christmas, ahead of their US tour.



Neil Cartwright on why UK's Digital Economy Bill is technology censorship

 snip... "Incredibly, the DEB now gives record labels and movie studios the power to block these  [P2P] networks rather than deal with them and work out a licensing structure. The technology is, in fact, being censored because it doesn’t conform with someone’s idea of what constitutes a workable model. Note: the site itself and the technology will still exist – it will simply be ‘blocked’ so no-one in the UK can see it. Does this sound like a good policy for a nation heading towards a digital future?"

Cartwright goes on to examine how you could get around blocked sites by using Google  - which then raises the issue of the UK Govt blocking Google for offending users. He says that the law is so inherently flawed that it will fall down at the first court order. Which is essentially why the previous version of S92A of our Copyright Act was revised by John Key's government. It was unworkable.


Read Cartwright's piece in full here.

This DE Bill is not a million miles away from what New Zealand could end up with from the secret negotiations around ACTA (Anti-counterfeiting Trade Agreement), which has become all about protecting copyrights. It's essentially about rightsholders trying to dictate what should be in this trade agreement, behind closed doors. The only way we know anything about what is being negotiated in secret is from a series of leaks.

Check out PublicACTA to find out more about it from a New Zealand perspective.

From that site - "What is ACTA? ACTA is a controversial international treaty that impacts digital rights and is being negotiated in secret meetings. PublicACTA has been organised by InternetNZ so that the public can critique the known and likely content of ACTA proposals ahead of the next round in Wellington." This is taking place in Wellington at present.

From Computerworld NZ: "About 120 attendees at the PublicACTA conference gave up nine hours of Saturday to hammer out “The Wellington Declaration” — intended to be a constructive criticism of the Anti-Counterfeiting Trade Agreement ACTA." Read the declaration here.

Russell Brown looks at the Wellington Declaration at Public Address, a good read.

RIP Steve Reid

"Domino are very sad to hear the news of the death of Steve Reid, who passed away in his sleep last night after a battle with cancer. Steve Reid was a giant of a drummer, who began playing professionally at the age of 16. His first recorded work was with Martha And The Vandellas, working in the Apollo Theatre House band, under the direction of Quincy Jones. Over the years Steve recorded and played with artists such as Miles Davies, Fela Kuti, James Brown and Sun Ra, amongst other musical legends.

Domino had the pleasure of releasing The Steve Reid Ensemble's Daxaar album in 2007 and Steve's groundbreaking works with Kieran Hebden, the albums The Exchange Session Vol. 1, The Exchange Session Vol. 2, Tongues and most recently, NYC.

Our thoughts go out to Steve's family, friends and 'musical soul mate' Kieran Hebden who had these words to say: "Steve was one of my great friends and the most wonderful musician I have ever encountered. The music and adventures we shared have been some of the most happy and meaningful experiences I've ever had. A true inspiration. He lived a great life and gave us incredible music. I'll miss him forever."




Monday, April 12, 2010

Jimmy Cliff interview (video)



Jimmy Cliff interviewed for Fader TV.

Gabe Roth - mathematics of soul



From the Red Bull Academy, Daptone Records boss/producer (and Dapkings bass player) Gabe Roth talks shop.(video, 1hr 51 mins)

Also, Gabe Roth  - indepth studio technical talk with Sound on Sound magazine (2008). One for the gearheads. What mics he uses, studio setup and so on.

PLUS interesting backgrounder on Roth's early years from NYTimes (2008). And a more recent interview of Roth with Popmatters from January this year here.

How to Wreck a Nice Beach

"Dave Tompkins heads over to NYC’s Big City Records to share some of his favorite albums that utilised the vocoder and a bit of the strange history behind the device’s creation and rise in popularity." From Crate Kings/FaderTV.




Tompkins’s recent book, How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop, which is available now, thru Stop Smiling Books (the folk behind the excellent Stop Smiling magazine, one of my favourite mags on the planet - shame its defunct).

"This is the story of how a military device became the robot voice of hip-hop and pop music. Though the vocoder, invented by Bell Labs in 1928, was designed to guard phones from eavesdroppers, it expanded beyond its original purpose and has since become widely used as a voice-altering tool for musicians. It has served both the Pentagon and the roller rink, a double agent of pop and espionage.

In How to Wreck a Nice Beach—from a mis-hearing of the vocoder-rendered phrase “how to recognize speech”—music journalist Dave Tompkins traces the history of electronic voices from Nazi research labs to Stalin’s gulags, from the 1939 World’s Fair to Hiroshima, from Manhattan nightclubs to the Muppets." Source.

Banksy, the movie

Exit Through the Gift Shop tells the incredible true story of how an eccentric French shop keeper turned documentary maker attempted to locate and befriend Banksy, only to have the artist turn the camera back on its owner with spectacular results. The film contains exclusive footage of Banksy, Shepard Fairey, Invader [who is the film maker's cousin] and many of the worlds most infamous graffiti artists at work, on walls and in interview. As Banksy describes it, Its basically the story of how one man set out to film the un--filmable. And failed" From BV.

Opens in US on April 16.

Guide to digitising vinyl

Here's a handy guide from Soul Sides, entitled, The Cavern Productions/Soul Sides Guide to Digitising Vinyl.


Prepared by Brendan Irvine-Broque (for Cavern Productions) and Oliver Wang (for Soul-Sides.com)

Before you start to build a vinyl digitizing system, remember how sound signal chains work. Every sound, whether it’s coming from a singer’s voice or a groove from one of your LPs, has an origin, and passes through a number of different physical and electric stages before it becomes the 1s and 0s that reside on your hard drive.

This is the long version:
1) The physical grooves of a record
2) The turntable, which spins the record at a theoretically constant speed, and isolates it from any internal or external vibrations.
3) The tiny needle that follows the grooves
4) The cantilever system that acts as a suspension system for the needle as it is affected by the record’s grooves
5) The tonearm that stablizes the needle and keeps it in the grooves
6) The wiring inside the tonearm, and the wiring coming out of the turntable, which carries a very weak signal through unbalanced cables into the phono preamp.
7) The phono preamp, which uses the standardized RIAA equalization curve to boost bass frequencies that cannot be represented by grooves on a vinyl record at high amplitude.
8. The cables that connect the phono preamp to the Analog/Digital Converter (ADC)
9) The ADC itself – its dynamic range, accuracy, and clocking.
10) A computer software program that then saves that information into a sound file (AIFF, WAV, MP3, etc.)

This is the short(er) version:
1) The record itself
2) Stylus + cartridge (can be upgraded separately)
3) Turntable + tonearm (can be upgraded separately)
4) Phono preamp (either stand-alone or built into a stereo receiver or DJ mixer)
5) ADC (either stand-alone or your computer soundcard)
6) Computer software
For each part of this chain, your decisions will impact the quality of sound at the back end.

Let’s get the simplest things out of the way first: computer software.
BIB says: Audacity is the most popular by a long shot, though I find its user interface to be confusing and inefficient. I recommend the inexpensive, yet very worthwhile Peak Express, made by Bias Inc. It’s been around for over a decade, and the professional version is used in many mastering studios. At $29, it’s a steal, and will save you hours of time.
OW says: I’ve always liked Sound Studio 3 for the Mac. Simple, easy to use, but also powerful. $60.

Now here comes the more complicated parts…
The simplest way to digitize vinyl is to buy a generic audio cable as the link between your preamp and ADC. If you’re already a DJ, this likely means running a cheap (less than $5) cable from your DJ mixer to your computer soundcard. Assuming that mixer is connected to something like a 1200 that you already own, this will almost assuredly sound better than the Numark or Crosley USB turntables that seem to be popping up everywhere these days.
Note: It may be tempting to buy one of these cheap, plastic USB turntables since they combine #2-5 into a single machine. And frankly, if you just want to digitize records and you don’t care that much about how the final product sounds, this may be the way to go and you can stop reading now.

For those who want a higher level of sound quality, keep reading. The basic principal of capturing sound is to ALWAYS start at the origin and work from there. There is no need to spend any extra money on a special, high-end ADC if there’s a weak link in the chain PRIOR to getting there. That’s why the kind of cartridge, turntable, and preamp you use are relevant.

To put it another way: you can’t get gold from lead; you need to start off with gold (the record you want to digitize) and hope the rest of your chain doesn’t tarnish the sound too much.
If you want to get serious, start at the beginning.

1) Are your records clean? There are all kinds of options out there, from robust vacuum designs like the VPI 16.5 to Groov Glide, to DIY designs involving ultrasonic cleaners. This may sound excessive, but remember: most of your records are at least a decade old, if not 50, and if you bought them used, who knows where they’ve been and what they’ve been exposed to? Dirty records = dirty sound. So make sure your records are as clean as you can get them before a stylus ever gets into those grooves.

2) Stylus/cartridge. These are a matter of personal choice. There may be objective quality differences between brands and models, but ultimately, it comes down to what’s pleasing to your own ears and people will have their subjective preferences.

BIB: My personal recommendation is Ortofon Concorde style cartridges – I use the Nightclubs for archiving, and have the elliptical (E) styli for LPs and the spherical (S) styli for 45s.

OW: I would second the Nightclub E but, as BIB notes, you may want to change styli (same cart, different needle) for 45s. In my experience, a “loud” 45 played with an E stylus is prone to bad distortion. I use my Nightclub to digitize LPs but often switch to a Shure White Label for 45s (I don’t own a separate S stylus for the Nightclub).

3) Turntables.
BIB: Technics 1200s are the kings. If you’re willing to spend $200 or more, it’s absurd to buy anything else. The “warmth” that audiophiles talk about getting from other turntables is nothing but resonance that reinforces midrange frequencies in a way that pleases the ear, but isn’t accurate. Like EVERYTHING record related, the Japanese have the game on lock and Technics are no exception.
OW: I think 1200s are a perfectly good choice and if you’re a DJ, you already know this. But if you’re NOT a DJ? I think there are other options, especially if you’re willing to spend time on Craigslist or eBay or browsing thrift stores and swap meets. There’s many good medium/high-end consumer turntables made in the ‘70s and ‘80s to be found under $200. This is a great research resource.

Ultimately, if you want to take the guessing game out of it? Look for a used 1200 under $250. Can’t go wrong with that. Me though? I’m fiending for one of these.

4) Preamps.
Preamps pose a unique challenge in the digitizing realm. Professional grade, stand-alone phono preamps are practically nonexistent and instead, you’re often left with either overpriced audiophile models and cheap, high-school-electronics-class designs.
There are some wonderful phono preamps built into some home stereo receivers from the 1970s, but these come with their own problems having to do with crosstalk and voltage, because there are so many other components within an analog stereo receiver (AM/FM radio, inputs, 50 watt speaker amplifiers, etc.). Current, analog DJ mixers are likely the best choice for anyone serious – particularly because they offer XLR or TRS balanced outputs, which keeps the noise floor low and dynamic range high.

BIB: I personally use an Allen & Heath Xone 02, just for the phono section, but only because it’s the best thing I’ve found so far. I’m hoping to build out a balanced Bozak (link) phono preamp sometime this year – they were the gold standard for design in DJ mixers for discos of the 70s and 80s, and are revered for their phono preamps.

I really wish that I could give a more solid recommendation for a dedicated phono pre, but the only phono pre I’m remotely interested in is a rackmount unit that the homie Thes One had custom-built by Manley.

OW: I used to use my Rane TTM56 as a preamp and from what I’ve heard, Rane builds very good preamps into their DJ mixers. But when I decided to separate my digitizing set-up from my DJ set-up, I needed to put the Rane back and look into a stand-alone preamp. The overwhelming recommendation I got was for the Radial J33 (which Thes One also uses when he’s not running sound through his custom Manley pre).

I’ve been happy with it so far and what’s nice is that you can plug headphones into it and you’re likely to get better sound from that than a stock computer soundcard (you can’t adjust volume though). I’ve had some people recommend the Rolls V29; it’s inexpensive but I’ve never test-driven one.

4.5) Cables.
Remember that your sound signal chain has to travel down wiring and the quality of wire matters as much as every other part of the chain.
BIB: My absolute highest recommendation goes to Redco Audio, who lets you design your own cables at very affordable prices, down to the length, connector style, and cable quality. I probably have over 50 cables from them, and know many studios who count on them regularly.

5) ADC.
Unlike preamp choices, the consumer options here may seem staggering but don’t be fooled. The vast majority of ADCs on the market are not worth your $200. Why? Because even though they most often have the exact same chipset that’s used in Protools HD systems, most are fraught with the exact same problems that plague your laptop’s soundcard – unstable and insufficient voltage rails, interference, and shoddy manufacturing. Avoid M-Audio, Tascam, MOTU, or others unless you plan on having it modded.

BIB: There are two companies making quality, affordable audio interfaces that sound great – Apogee Digital and Echo Audio. I personally use the Duet, and it’s wonderful, stable, and is truly the best you can find for less than a grand (at which point I’d start looking at RME, Lynx, and other Apogee products).

OW: I bought a Duet, partially on BIB’s recommendation, and have been very happy with it. The versatility is excellent – you have multiple ways to cable it (XLR, 1/4”) and the jog wheel lets you adjust both input levels and headphone volume. They’re not cheap – even used, expect to shell out around $250-350 – but if you’re serious about stepping up your ADC, it’s worth the added cost.

In conclusion:
The cost-differences here are dramatic depending on how you want to play it. An all-in-one USB turntable will run you about $100 or less. The set-ups both of us use will set you back at least $700-1000+. If you are going to trick it out, just remember: the strength of the digitizing chain is a linear process. You have to make sure your starting components are strong before worrying about the end; investing in a Duet or Echo would be one of your last purchases, not your first.

Sunday, April 11, 2010

McLaren exposed to asbestos

"The former Sex Pistols manager Malcolm McLaren may have been exposed to the asbestos which killed him while smashing up Sex, his infamous King's Road punk design shop, his partner, Young Kim, has told The Independent on Sunday." Full story here.

New York is killing me

Off the latest album from Gil Scott Heron (I'm New Here"), here he is doing the song with Nas. Download too.

Malcolm McLaren interview from 1983

Via Different Kitchen.... "This is just further proof that the late Malcolm McLaren was a true visionary of this music game. Read this article (from 1983, almost 30 years ago). The stuff he's talking about: the DIY culture of home DJ's, producers and consumers taking control of their music and remixing & remaking it in any fashion they want has all come to pass in this current internet era of music. Mash-up and remix culture is exactly what Mclaren was envisioning when he want to New York and made the cut-up, scratch hiphop classic, "Buffalo Gals."

Download the January 6-19, 1983 'All-Star Request Issue' of Smash Hits with McLaren on the cover HERE [pdf file] or HERE [individual jpegs]."


Also, McLaren's son Joe Corre, and Julien Temple remember McLaren. From The Guardian.

Billy T James rights dispute


The NZ Herald reports that "The widow and daughter of Billy T. James are considering legal action for what they claim is their share of royalties from DVD sales estimated to be worth $3 million."

The DVD was released by Sony Music NZ and has sold over 100,000 copies since Xmas 2008, but it appears that due to the rights to James' material being held with several copyright holders, they may have used material which they did not have permission to.

" ... it is understood it stems from her [James' wife, Lynn Matthews] claims of intellectual property rights over some Billy T. James recordings and scripts. She has assigned those rights to independent label Pagan Records to license on her behalf. Pagan representative Tim Moon declined to discuss specifics, but said legal action was possible. "These companies rely on copyright legislation in running their businesses. Billy's family are entitled to the same reliance."

Sony responded with a statement, saying "Sony Music Entertainment (New Zealand) is confident it can come to a commercial arrangement with Pagan Records after recently concluding an arrangement with The Billy T James Family Trust."