February 1999I promised myself a short stint on the soapbox sometime at the beginning of this new year. There is an on-going problem with the presentation of information on records. Money can be spent on the best graphic artists with four-color glossy covers or the records can just be put into white paper sleeves, either way many people are missing the main point of packaging -- it's there to protect the record and to display information. Whether or not there's an image of the artist or glorious graphics is inconsequential. The trend towards bad labeling is getting worse, from the majors right down to "Joe Blow" just putting out his first track on his own. Of course many labels have been doing it properly from the beginning. I wonder how the others can ignore the most basic principles involved. This tirade is for the good of the artists and labels who fail with their packaging. If your packaging is forgetable, unreadable, and anonymous you will not sell your records, plain and simple. First things first: when you are putting text on the record, pick a typeface that is easily read. Remember that legibility changes with size. Depending on the typeface there really shouldn't be any type below 9 pt. If you run out of room and really feel that you have to make it smaller, either redesign your layout or forget that last name on your list of "thank-you's." Second: be sure that the artist's name is conspicuous and can't be confused with the title of the song. Putting quotes around song titles is tried and true. Putting the artist's name nearer the top in a larger font also works well. If your project is being released in a die-cut or plain solid sleeve, consider a large sticker placed near the top with all the pertinent information. Include the same information on the record label as on your sticker. Third: make sure that your record label's name is prominently displayed but can't be confused with either the artist's name or the song title (this does happen). Adding "... Records" or "... Recordings" is a simple solution. Unless your release is an "unlicensed white label" be sure your company's address, phone number, fax number, and e-mail are prominently displayed. You want everyone to be able to contact you. Including the year made is always a good idea. Fourth: when track listings are placed on the record label, make them as straightforward as possible. Clearly delineate one side from the other. If one side is "A" and the other is "B," be sure there is an "A" placed on one side and a "B" placed on the other. "This side" and "that side" work well when all the track names are together on the same side. It is always very helpful when the timing for tracks is displayed along with the titles. Have the composer's and the post-production workers' names placed together with the track, not way down at the bottom in a 4 pt font. These four elements are all that is necessary to tell the story about any release. These guidelines don't restrict records to a generic unartistic wasteland. Well-conceived artwork will make just about anyone pick up the piece to see what it has to offer. Many labels offer beautifully creative four-color generic sleeves. This is almost always a big mistake and the groundwork for potential failure. It can work if all of your releases are equally excellent, but if there is one that flops that beautiful four-color sleeve will be associated with it, making all subsequent releases a difficult sell. The extra effort put into a well-designed generic sleeve can work if there is room on the sleeve for information identifying each individual release -- a spot left blank for additional printing or a sticker would do the trick. When you are designing on your computer remember that images on a monitor will look entirely different when printed. Keep contrasts and color combinations in mind. Pale beige printing on pink will not read. Type should rarely be in green or yellow. That may look pretty but may not be easily read. Do not be talked into an arty presentation by a graphic artist and sacrifice marketability. You could put the artist's name and the title of the song in very "groovy" psychedelic writing on the outer sleeve but on the back and on the record label make it legible. Anyone involved with current club music could probably go into a retail outlet and point out records that look like techno or progressive and do the same with those that look like vocal or commercial releases. Do not make the mistake of having your deep jazzy vocal release look like a techno release from Sweden or your tech-house track look like it could be by a wailing diva. That's a common mistake and one that might prevent a potential customer from even touching it. If you have a song that will be released in two editions, have them marked very clearly as part 1 and part 2. Remember you want to have your music reach out to as many people as possible. If the retailers can't market it properly, if the DJs can't figure what is what (or can't read it in club lighting), and if the journalists can't find the information necessary to give you exposure, you have lost the battle. We have yet to experience the after-the-new-year deluge of new releases, but there have been a few worthwhile entries. Twisted Records have never been a label content to rest on their laurels. DEL 5 "The Biggest Thing in Detroit" was released in the late summer on import and it now finds new life and new mixes from Kult of Krameria and DJ Vibe on Twisted. This is still a very tracky affair featuring an interview with the lead singer from the Delfonics, a very early Motown signing, intertwined throughout. The only thing Detroit about this record is when she says "The Biggest Thing in Detroit" -- the feel is juicy tribal with a very "Murky" bassline. This was one of those imports that was lost to most people because of its anonymous packaging. Speaking of things of Murk, Miami-based FUNKY GREEN DOGS, Oscar Gaetan and Ralph Falcon, return with their second full-length on Twisted, "Star." They do not stray far from familiar themes, but it all works extremely well. These guys completely understand club music and yet have a freshness that is difficult within this genre. They have a new vocalist, Tamara, whose sultry stylings are perfectly suited to every mood found on "Star." As you might expect, all nine tracks are club ready but "Body" is the first single pulled and Club 69 turn it out with their "Future" remix. There are also mixes from FGDs for those who like it funky in the way that only Gaetan & Falcon can do it. There is a new approach towards the use of string sections and a lighter touch to the keyboards that will keep the fans tantalized and make converts in droves. The songs "Tomorrow," "Can't Help It," and "Movin'" are classic FGDs bass boomers with very sexy vocals. "Won't Stop Loving You" is a dreamy late night piece reminiscent of The Fog. "Keep Walking" and "Discotek" are on the uptempo latin rhythm tip with Tamara shining way up front on "Keep Walking" and with a cool vocoder male vocal intertwined on "Discotek." "It's Over" has a perky energy that could get it plugged right into many prime time slots. "Just a Little Luck" winds up the set on a classic electro-funky disco offering with lyrics that will keep the most jaded dance floors singing along. Winding up Twisted's busy schedule is JUNIOR VASQUEZ with "X '99." At first it didn't seem that this track with its initial NYC novelty could be trotted out for another go, but it works very well. There is a whole new energy and "drama" that should please all those who "lived" for act one. There was a track by DJ ERIC called "We Are Love" circulating around during the early part of the summer on Disques Kung-Fu. I'm sure the label name was chosen to exploit the current fascination with the French sound. A lot of people loved it -- those who didn't probably had never heard it on a big sound system. This is the track that sampled Hall & Oates "I Can't Go for That" and vocals from Alexander Hope's "Brothers & Sisters." Many punters bugged all the record shop clerks for that Hall & Oates "thing." Well it can now be divulged that DJ Eric is actually Neil Steedman, Andy Ford, and Craig Burger Queen. This track is now out on Distinctive with two platters of remixes. One disc has two fine, funk-driven monsters from FunkForce (aka Matthew Roberts) backed by two filtered, deconstructed disco mixes by Robbie Rivera. You know what to expect from Rivera, the hardest working man in "house business." The other disc has the original excellent mix and a Gridlock mix by Andy and Neil. This is the mix, it has all of the original elements with a better intro and more kick throughout. This mix also has the addition of a piano line that is ever so similar to David Morales' keyboards from his mix of "Dreamlover" by Mariah Carey. This is the mix that could elevate it to near Stardust levels. A must. Expect to be hearing a lot from new Virgin/Astralwerks signing CASSIUS and their debut album "1999." Cassius, aka Philippe Zdar & Boombass (Hubert Blanc-Francard), have already built a strong foundation having recorded together as the highly lauded La Funk Mob. Zdar has recorded with Etienne (Super Discount) De Crecy as Motorbass. These guys set the ground work that made possible the current popularity of Air, Daft Punk, Dimitri from Paris, and let's not forget Stardust. Zdar & Boombass planted seeds that flourished equally well in the "heavyweight underground" and the pop commercial scene. Fueled with a balanced amount of house and garage grooves, they always kept their sound uplifting with a "disco spirit and funk attitude." The first single culled from "1999" is "99" with remixes by the boys themselves -- who better to do the job? This is a powerful disco-crazed anthem that would fit beautifully into anyone's set from the most commercial to the ultimate underground. It has an infectious bassline and a rhythm that could get any "booty" movin', but it also has insidious twists that will get under your skin and tweak your mind. There are a multitude of singles possible from the fifteen tracks found here. Many of the tracks have such skillful vocal samples that it seems as though they were meant to be vocal songs; "Feeling for U," "La Mouche," "Foxxy," "Nulife," and "Somebody" all fit neatly into this catagory. There are many just straight-up grooves that will knock your socks off -- who needs vocals anyway. This is a very well thought out collection and is highly listenable as a whole. There are several sweet little interlude tracks that help the album flow from beginning till end. Back from a much too long hiatus is UNDERWORLD with "King of Snake" on Junior Boys Own UK. There are two discs with remixes by Dave Angel and Dave Clarke. Both do the fine job that we have come to expect from the Daves. Punchy progressive hard hitting house. I actually prefer the band's own mix for preserving those dreamy vocals and for the underlying Moroder-esque keyboard work that drives the track over the edge. Send review material to: |