Features

How long do lacquers really last? The recent Supersense announcement that it would be releasing lacquers cut sourced from 1:1 master tape copies (the original announcement made it seem as if the company was claiming to be using actual master tapes, which made zero sense and was obviously not the case), produced a torrent of objections and outrage on this website under the original post and on the YouTube channel of record dealer The In Groove.

DJ Format (aka Matt Ford) is a hiphop DJ and producer from Brighton, England. DJ Shadow (aka Josh Davis) is a hiphop DJ and producer from Sacramento, California. Brighton and Sacramento; not the first urban centers you think of in relation to groundbreaking hiphop production. Format and Shadow, however, are at either end of a 25 year continuum of atmospheric instrumental beats. DJ Shadow’s 1996 debut Endtroducing….. which got a half-speed remastered 25th anniversary edition last month, was composed completely from samples, a methodology shared with DJ Format’s latest LP from 2021 Devil’s Workshop.

In December 1965, Sam Charters (1929-2015) went to Chicago to record Blues musicians who were playing in the clubs of the Black neighborhoods on the south and west sides. Charters, a white man, had written "The Country Blues" published in 1959. It was the first book about rural blues and while it contained many factual inaccuracies, it was entertaining romantic storytelling and helped foster the interest of young White folk fans in acoustic Blues. The glaring failing of "The Country Blues" was Charters’ insistence that “real blues” was dead, that Lightnin’ Hopkins was the last living blues singer (!), that postwar electric Blues was diluted, crude, loud, monotonous and that, “The blues have almost been pushed out of the picture and the singers who have survived at all have had to change their style until they sound enough like rock and roll performers to pass with the teenage audience.” Opinionated, though he may have been, Charters remained open minded and observant and within a few years, realized that the music being played in the small bars in the Black neighborhoods of Chicago was an urban, modernized version of the rural southern blues he admired so much and served the same social purpose for its audience.