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Showing results for tags 'Memorabilia'.
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Time to lighten the load a bit... I'm offering up some stuff from my collection that I really don't need anymore (due to duplicates, etc.), plus a lot of promos and memorabilia I've collected over the 13+ years I've been doing this. I'm not putting prices on anything - most of you know what some of this is worth, and for those that don't, there are online resources to gauge how valuable/rare something is. Bottom line though, is I'd rather let you decide what you feel is a fair price for something, and if I agree with the price, then we both win. Anyone interested in individual items or packages should PM me, and it's on a first-come, first-serve basis. Any counter offers will be accepted, and I'll let you know if your offer has been upped and give you the chance to counter-offer. Inquiries about the items are fine as well. So, here goes: PAC-MAN Powerpill 12" vinyl - yeah, one of my earliest finds, and it wasn't in great condition when I got it, so not expecting much. Analogue Bubblebath 3.1 vinyl Analogue Bubblebath 3 original vinyl with RePhLeX guide sheet AntiPop Consortium promo Vinyl Nightmares on Wax promo vinyl Smojphace EP vinyl Brothomstates Qtio EP vinyl Boom Bip Seed To Sun vinyl LP Nightmares on Wax promo EPs 1 & 2 LFO Freak promo vinyl with press sheet ARC000 Arcola Records (WARP Records imprint) promo EP Aphex Twin DrukQs Cock 10 promo vinyl EP Analogue Bubblebath 3 vinyl reissue Caustic Window Joyrex J9i first pressing Do You Know Squarepusher promo EP Squarepusher My Sound EP Squarepusher Ultravisitor promo EP Aphex Twin Ventolin EP US pressing Polygon Window Quoth clear vinyl EP WARP Records WAP 100 clear vinyl promo EP More to come later!
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MEMORABILIA. COLLECTING SOUNDS WITH... Eric Isaacson. Part I Produced by Rosanna Arbon Link: http://rwm.macba.cat/en/research/memorabilia-eric-isaacson/capsula PDF: http://rwm.macba.cat/uploads/20140313/Memorabilia_Eric_Isaacson_eng.pdf Collecting music began as a private pursuit for Eric Isaacson, from the age of five he was recording songs off the radio and making his own mix tapes. His biggest undertaking was reconstructing the Beatles back catalogue, track by track, album by album entirely off the radio which took him four years to complete. That kind of behaviour might lead you to believe the young Isaacson would grow to be one of the breed of sound collectors that William Bennett refers to as the completists, but Isaacson is far from it. Around 300 records make it into his personal collection at one time, it seems a small amount for someone who runs a record label but Isaacson's collection is constantly on the move – he gets hold of records as quickly as he gets rid of them because ultimately what matters most is the contemporary relationship he is having with each record in his collection. 'I'd go insane otherwise,' he says, 'my interests go in such different directions, I would have to have 50,000 records to represent what I'm into and that's impossible.' In lieu of a physical collection, Isaacson's notebooks which are filled with lists of songs that either have or might make their way on to a Mississippi release are a testament to the extensive amount of records that have been a part of his life over the past ten years. Isaacson's unique design sensibility adorns the covers of Mississippi releases, early influences include Daniel Johnston and punk rock zines, whilst more recent influences include the cover art of Folkways Records and Indian Tantra art, but as with Isaacson's sound collection, his artistic influence is vast. Isaacson says his style was created by his limitations: 'I had to find a unique voice because I couldn't use tricks or skills, flashing lights or dazzling techniques'. Isaacson's cover art is bold, colourful and raw, the imagery is almost cryptic at times and as such Mississippi releases can't help but stand out on any shelf. You can find the complete MEMORABILIA. Colllecting sound with... podcast series here: http://rwm.macba.cat/en/memorabilia_tag/ Enjoy! -
MEMORABILIA. COLLECTING SOUNDS WITH... Eric Isaacson Part II Eric Isaacson, founder of Mississippi Records, presents a compilation that seeks to capture the magic of home recordings. Link: http://rwm.macba.cat/en/research/memorabilia-eric-isaacson-collection/capsula PDF: http://rwm.macba.cat/uploads/20140508/Memorabilia_eric_isaacson_partII_eng.pdf “This mix is all over the board. The theme is simply home recorded music, whether by the artist themselves or by field recordists who came over to visit. Some of the artists are very well known like Bo Diddley, who would work out his compositions at home on tape before hitting Chess studios to record, or Charlie Feathers who recorded at home all through his 40 year career using the same equipment... As a result you can’t tell the difference between a recording made in 1955 or 1985 when it comes to Charlie. Some of these artists are not very well known – like Scott Dunbar who never left the small town of Lake Mary, Louisiana. Some of the artists are stalwarts of the Mississippi label like Michael Hurley, Marisa Anderson and Abner Jay. The point of this mix is to show that the bloated magic sounds of the studio can take you pretty far in one direction... ain’t nothing wrong with that studio sound when its used right - like on Phil Spector’s genuinely psychotic wall of sound or George Martin’s bizarrely perfect rock on the Beatles Revolver album or stuff like that. I will grant that a fancy pants studio can achieve some magnificent things that a home studio never could. Conversely, home recording can achieve some amazing things that a studio never could no matter how hard it tried. Some things just can't be manufactured outside the home... “ Eric Isaacson
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New podcast: MEMORABILIA. COLLECTING SOUNDS WITH... Brian Shimkovitz. Part I Produced by Matías Rossi The tale of how a student of ethnomusicology from Brooklyn spent a year in West Africa buying tapes off street markets... and how he managed to turn that bizarre collection into one of the most revered record labels in recent years. Link: http://rwm.macba.cat/en/research/memorabilia_brian_shimkovitz/capsula When Brian Shimkovitz went to Ghana on a Fulbright Scholarship for ethnomusicology in 2005, he was confronted with a rich, bizarre, puzzling and extremely varied array of music, mostly released on cassettes. 'I had never really considered going to Africa,' he says, 'but I had this interest in popular music in cities.' And the African music scene turned out to be just the ideal fieldwork project for Shimkovitz. For a whole year he was based in Accra, the capital city of Ghana, but occasionally traveled to other locations in West Africa such as Mali, Togo and Burkina Faso. In all of these places, street markets and stalls provided him with a seemingly endless supply of out-of-the-way material. By the time he went back to Brooklyn, having interviewed a substantial number of MCs, DJs and producers, he had amassed an impressive collection of tapes, but had no master plan for them. Starting a blog to channel his findings ('communicating it to people without dumbing it down completely', as he recalls) seemed like a reasonable enough idea. The name of the blog was pretty self-explanatory: Awesome Tapes from Africa. Steering away from the stereotypical afro-exoticist formulation that had been associated to the World Music market for decades, Brian made an effort to simply share his own excitement for the sounds, the artwork and the richness of his fragmented collection: 'a non-encyclopedic approach to this very, very broad and deep array of music that's out there – that I'm certain my 4,000 cassettes is only scratching the surface of 0.01% of music that’s commercially available.' It was probably this straightforward approach, combined with the viral potential of the web that made the project grow beyond his wildest expectations. Some years later, what began as a fairly underground resource for close friends, some connoisseurs and digital crate-diggers, has turned into a full-fledged record label. Awesome Tapes From Africa reissues all sorts of African tape rarities, from folkloric pop, to left-field dancefloor gems and hip-hop bangers, shedding light on obscure and wonderful sounds from across the continent. The label has received major acclaim from publications worldwide for its reissues by re-discovered legends including Ethiopian accordion and keyboard maestro Hailu Mergia, Somali funk and soul group Dur-Dur Band and Malian chanteuse Nahawa Doumbia, underscoring the broader mission of Awesome Tapes from Africa: contributing to building the international market for African music and helping a few of his favorite artists find new audiences through touring and reissues. You can find the complete MEMORABILIA. Colllecting sound with... podcast series here: http://rwm.macba.cat/en/memorabilia_tag/ Enjoy!
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New feature: Conversation with plunderphonic artist Vicki Bennett on her sound collection The following is a transcript of the email conversation with plunderphonic artist and sound collector Vicki Bennett, which took place in Summer 2013, as part of the research process for the podcast series MEMORABILIA. Collecting sounds with... Link: http://rwm.macba.cat/en/extra/conversation_vicki_bennett/capsula PDF: http://rwm.macba.cat/en/extra/conversation_vicki_bennett/capsula Vicki Bennett (b.1967) is been an influential figure in the field of audio visual collage, through her innovative sampling, appropriating and cutting up of found footage and archives. Using collage as her main form of expression, she creates audio recordings, films and radio shows that communicate a humorous, dark and often surreal view on life. These collages mix, manipulate and rework original sources from both the experimental and popular worlds of music, film, television and radio. An avid collector, Vicki operates under the moniker People Like Us and promotes an open access to archives for creative use. >>Vicki Bennett @Radio_Web_MACBA
