Jérôme le gopheur (French Edition)

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Unlike its parent label, Stilove4Music uses blank hub labels on its vinyl—a nod to the culture of bootleg or promotional "white label" records in dance music. Derradji didn't get into reissues till , when he launched the funk, boogie, and disco imprint Past Due—which partnered with Numero Group co-owner Rob Sevier to release the compilation The American Boogie Down.

We licensed the compilation to BBE—they did well with it. I reissued it on vinyl recently. It was the key point where I was like, 'Well, I wanna do the same thing, but with house music. It wasn't quick work, but four years later Still Music released its first archival house recording, BPM: I have to document it so people can actually read and learn about the talent that is on that record. Soon Derradji enlisted freelance writer Jacob Arnold also a Reader contributor to write liner notes for Still Music releases.

Chicago label Still Music rescues decades of house history from a south-side storage locker

But we both settled here, and I think that's important, just to understand the city a little better and to keep up these relationships with the artists. The Story of Sunset Records Inc. I was listening to it and I was like, 'Man, this is so awesome. Starke says he's had other offers to reissue his material, but he'd rather work with Derradji—even though he knows the process will be slow with such a small operation. Starke had another chance to prove his loyalty to Derradji when Record Al contacted him—without that referral, those precious tapes might still be slowly decomposing.

Al says he acquired them around 18 years ago, when someone who'd bought a storage locker contacted him after finding roughly 9, records and a bunch of reel-to-reels among its contents. Al bought them all, but he had a tougher time figuring out what to do with the tapes. So I never got rid of stuff just to make money. By his own admission, as a collector Al sometimes used to go past "savvy" all the way to "cutthroat.

He could go in there and take collections away from guys, and they were definitely fearful. Al says he worked as an inspector for the Chicago Department of Buildings' Strategic Task Force, and his job took him to so-called troubled properties where there'd been arrests for drugs, gambling, prostitution, and "those type of vices. Al is a jazz fan first and foremost, but he knows plenty about other styles of music. Starke remembers running into him at the Maxwell Street Market. Starke had picked up a rare house inch, and Al asked to see it. And Starke says Al has calmed down in the years since that encounter.

Record Al isn't just a collector but a dealer—a skill he's developed in order to find good homes for music he doesn't want to keep. He's invited other collectors to his house for that purpose, among them Starke and soul historian Bob Abrahamian. He had no trouble unloading the records from the storage locker—mostly disco and hip-hop radio promos and white labels—but he'd never sold a reel-to-reel tape before.

Analogue Is... DJ Zero

Selling the reels became more urgent for Al after he bought a house in North Carolina in summer He planned to move there in October , and thus had a deadline. He turned to Starke, who recommended Derradji: While Derradji was still at the storage facility on that first day, he walked Al through the labor-intensive process that would be necessary to salvage the music on the tapes—part of his effort to bring down the price.

A week later Al called with news that he had found more reels in the locker, and Derradji returned to retrieve another 60 or so.

Once he'd brought every tape home, Derradji set about organizing them. He numbered each reel and began building an Excel spreadsheet to organize whatever information accompanied each tape—labels, dates, whether the music had been released.

That took about three weeks. Because the name "Ed Crosby" appears on most of the reels, Derradji figured that might be the previous owner and set out to find him.

That search lasted another few months, ending after he found a Facebook flyer that listed a phone number for Crosby's gospel radio show on WBGX AM. Crosby declined to be interviewed for this story, but according to Derradji he was ecstatic to hear that his collection had resurfaced. He also released solo recordings on his own Get Down Records during this time, and he eventually got more directly involved with the Hot Mix 5.

They were immediately convinced that Crosby's direct contributions to house—not just the tapes of other people's music he'd amassed—were worthy of preservation. That's kind of a classic, in my opinion. While Derradji was still looking for Crosby, he'd started to listen to the tapes.

He borrowed a reel-to-reel player from local dub and reggae DJ King Tony and tried baking the tapes with a food dehydrator. With time, moisture, and temperature, the recording that's on the tape basically starts sticking to the back of the other side," he says. Old tape is fragile, and baking it risks melting the substrate. Even if everything goes right, the process is slow. Derradji says it's taken him roughly four hours apiece to bake the radio mixes, and his friend Dan Dietrich at Wall to Wall Recording spends 12 hours on one.

After treating maybe 20 reels at home, Derradji threw in the towel: Having this done professionally is expensive, unfortunately. He was able to reach some of the DJs to ask permission, and none of them insisted on money. Crosby especially hopes to see as much of this music as possible released, so he's happy for Derradji to sink the proceeds into more reissues.

That's not to say everyone gave their blessings—some of the DJs have proved hard to find. The C and K tapes prominently feature an artist who went by Devastating Daryl, and Derradji is still trying to figure out who that is. Technically the DJs aren't the only people who'd need to give approval for these releases to be totally above board—their mixes consist largely of tracks by other artists, which in a perfect world would also have to be licensed. But the world of dance music is a messy one, and DJs have a long history of releasing mixes marked with the words "for promotion only"—it's a way of signaling that they're not trying to siphon revenue away from the creators of the tracks they spin but simply want to showcase their own turntable artistry.

Derradji has stamped that phrase on the JACK tapes too. If all goes well, he should clear a few thousand dollars after expenses.

The modest scale of the release is also part of his attempt to avoid seeming exploitive, as is his decision not to stream the mixes or sell them digitally. Derradji thinks he handles reissues honorably. He typically offers artists half of any profits, and he's realistic about what that might mean. It's more about, 'Hey, why don't we do it together and see what can happen,'" he says.

Go + Docker = ❤️ by Jérôme Petazzoni

I just learned it sounds better when it comes to recording music. This brought Jerome Caron, a. One of the highest Spanish authorities on electronic music, DJ Zero talks about the history of electronic music in Barcelona, and his personal experience about being a vinyl digger and DJ. Jane Fitz has spent her life listening. DJ, producer, sound engineer, radio host, music publisher You are a man of many hats. What does a typical day in your life look like?

Analogue Is... Roger Rodés

How did you end up working all of these different jobs? People come to you for all sorts of different reasons, what do you think they expect from you? You work with both digital and analogue tools.

How do they complement each other? Could you tell us in which kinds of situations you would use one or the other? Have you noticed a change in the way that musicians approach music over the years? How has working on other people's sound and music impacted your own creative output?

What did you learn? Who do you work with when mastering your tracks? How do you brief your engineer?

Does any of this really matter in an age of lo-fi music consumption?

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