Good Splits was designed to work with all major aggregators and distributors, including self-distributor models like Tunecore or serviced-distributors like AWAL. The only data the user needs to provide is a CSV file from whichever music service they use, along with the splits. The tool will offer "a clean, easy-to-understand earnings breakdown by song, album and collaborator" to help users make payouts simpler and more transparent.
Good Splits is accepting new users for the free service on a rolling basis—visit their website for more info and to sign up. The safety recommendations come as states across the country are beginning to reopen and physical business locations are starting to welcome customers through their doors once again after the coronavirus pandemic shut down many U. In a letter accompanying the list of safety measures, Maureen DroneySr.
We hope this information is helpful, and wish you and your loved ones good health and safety as we navigate this crisis. The letter also recommends those looking to reopen their studios and physical locations to regularly consult the guidance provided by national, state and local government agencies, including the guidance for businesses and employers from the Centers For Disease Control And Prevention CDC. The list of potential safety measures, the names of the project's contributors and Maureen Droney's letter are available in full on the Recording Academy's website.
There is real power in music that gets you dancing, feeling joy and thinking about critical human issues. That is exactly what Chicano Batman 's music does—drawing you in with their groovy bass lines, warm and soulful vocals and all-around funky, sun-soaked instrumentation and aesthetic. With their fourth LP) album, Invisible Peoplereleased May 1 on ATO Reords, they double-down on the funkiness and deliver their most powerful, rhythmic project yet.
Founded in in Los Angeles, the four-piece embodies the true beauty, creativity and diversity of the city they call home. Since the release of their self-titled debut album inthe band has brought their infectious energy and vibrancy to countless shows and festivals through Southern California, the U.
They've also stayed engaged with their community despite quarantine, offering youth music workshop livestreams with the Young Musicians Foundation and a delicious fundraising taco at L. They get real about identity, racism and representation, and the marinization they have experienced as Latinos in the indie-rock space.
What was the creative process like on this album? How long were you guys working on it? Villa : We had to go on tour, so, we had to stop a little bit. We had writing sessions, but we basically started in Arenas : Inwe talked about different ideas we wanted to introduce to the new record, and we did a lot of demos.
At the end we chose 12 songs. Everybody kicked in on this one and helped develop it, where in the past the Bardo wrote the majority of the songs. This time Carlos was kicking in stuff, Bardo was kicking in stuff.
I would join up forces with them and throw in stuff. There were all these different combinations of things that happened that we had not explored in the past. Martinez : Recording was a big part of it, us using our home studios to record stuff and vibe that way. Villa : Carlos, talk a little bit about that moment where you came into rehearsal and you were like, "Guys, I know we have to do this album, but wait listen!
That's something I would keep to myself on the past records and then just have my own personal goals for my instrumentation.
But this time I shared it aloud to the group. That's choppy waters you can get into because you're asking a drummer to play drums a certain way or a singer to sing a certain way. Well, it's more recommending or showing examples of like, "Hey, could we try it this way this time and see how that goes? But I've known these guys for so many years, it was time for me to be real with Such Love - Tony Goodwin - Such Love (Vinyl and hope for the best. They were receptive, everybody needed a little bit of time at first to just take it in.
Once we started trying out these ideas, everybody else started bringing in other stuff they'd been wanting to try before, but maybe never thought this was the project to do that. So, I got the juices flowing creatively for everyone.
It was cool. Martinez : Yeah, this record was a lot of push and pull, as it's always been LP) our music. It's four dudes in a band, so everybody's pushing for whatever ideas they had in their head. I mean, Carlos was pretty straight forward. He was like, "Well, we should make something we could dance to, danceable music.
It brought us into the late '70s and '80s in terms of aesthetics, in terms of sound—it was new territory for me. It was a lot of fun. It's a dope realm that we eventually got to. Villa : It was definitely fun to create. The whole process was just fun, fun, fun, and a lot of communication.
We learned a lot. We're always inspired and happy to be working with the team so it really, really paid off. You can hear it in the music. If you compare the Chicano Batman discography, you really hear that this album is so different from the rest.
It definitely has that element of dancing—for the first time we're doing a lot of notes. I was playing once a month at bars and exploring what music has that universal appeal to people, that makes them want to get up and move or sing along.
It's a cool way to experience music when you have the sound system at your behest. I was controlling the PA and it's bumping, I could control the bass. I could see what was going on from the mixer. That inspired me. There's so many 45s that I love.
I'd play Prince 's "Erotic City," that '80s music that had amazing songwriting appeal, but simultaneously were hit records. I feel that doesn't go hand-in-hand all the time anymore. Now, you have writers that get together to make a song sound exactly like this other song so it can be a hit and make money.
It's about capitalism and it's about getting that publishing. Back then, it was more so you can make an art piece that was also danceable. It was really appealing and inspirational to me. When did you finish the album? Since you were working on it on and off, was there a period of time where you huddled up and finished all of it?
And then we demoed it when we could and we started amassing demos amongst all of us. We had little sessions in between touring and we finally started recording the album in February at Barefoot Recordingwhich used to be called Crystal Industries. It's where Stevie Wonder recorded one of his epic '70s trilogy albums, Songs in the Key of Lifethose amazing records where he found his synthesizer voice. So many hit records were made there.
Sly Stone worked out of there and George Clinton. So, we made Invisible People there for two weeks and then Bardo flew to New York for another two weeks to do vocals and some overdubs. Then we had to wait a year to put it out. Martinez : Well, it got mixed and we put all the music together. Leon Michels produced it. He definitely put his hand in the sound of it. He's an amazing producer [he's also worked with Lee Fields, Aloe BlaccThe Carters and others] and has an amazing hip-hop sensibility.
He knows how to make everything knock. So, that was the whole next process of, "okay, well he got the music" and we were in the dark for a week or month or so. I had just moved into this house that I live in now. It was amazing. Imagine, you move into a new house and you're playing a new record. I had my friends over and it was amazing. It was perfect. Happy birthday to one of the greatest ever carlossantana.
One of the highlights of my life was when he personally asked for ChicanoBatman to open for him at the House of Blues in Anaheim in An hour before we played he invited the band into his greenroom and shared amazing stories and dropped eternal nuggets of philosophical wisdom on us.
He also played us the African music that inspires him constantly. He warms up backstage with a vintage Fender Stratocaster and 60s Fender amp.
Photo: Lynn Goldsmith, CarlosSantana. The title track, "Invisible People" is really powerful and very pertinent to this moment we're in right now—calling out racism. Can you speak to the message behind this song and how you feel that it informs the rest of the album? Marinez : We came up with a thesis statement, which was the title itself. Carlos was like, "How about we write a song about how the marginalization of Latinos? That was one piece of it.
I started tackling different pieces in different verses, and I only have three verses. I wanted to make sure that whatever I was saying was going to be very strong and very poignant, straight to the point.
I didn't have time to cut corners, so I was going to be direct with it. I wanted it to be as strong as possible because the music was set up that like that. We went into the studio and that song was [originally] a little bit faster and Leon suggested we slow it down. The instrumentation is super sparse. The beat is heavy, the bass drops on the kick in the perfect place.
The music is there for the vocal to just shoot out. I approached every verse as a different thing. My first line is, "Invisible people, we're tired of living in the dark. Everyone is trying to tear us apart. It's not necessarily specific. The second line—"smoke a spliff so I could feel now"— I don't even smoke spliffs by the way, I like joints, but it was a homage to maybe Bob Marley or something I knew a lot of people were going to relate to.
Something edgy, something cool. The next verse is about race, "The truth is we're all the same. The concept of race was implanted in your brain. Also, just to challenge all of that because as a band, as, we're Chicano Batman. We decided to use this name, which has its own meanings as a Chicano, as an identity. I don't know if that's problematic, but it's going to challenge norms within our own community, and also in the superstructure status quo.
That's the more obvious knot. Also, anybody could be invisible in society. It wasn't "Just Latinos are invisible or just people of color. When they walk onto the street, into the supermarket, there's a lot of psychological weight to all that history, to alter that reality which is based upon history, decades and centuries of oppression, that LP) people really have to deal with as well. Everybody, regardless of who you are, if you're living in a city, if you're living in society, you're a part of it.
You're complicit in it. You're subjugated by it. People don't necessarily talk about it like that on Instagram. People on Instagram are just pointing fingers at each other. So, that's really not the goal of it. The goal is to be like, "Yo, the truth is we're all in this together.
It's also, "This record is fire, we're spinning the world around you. We got this record, we're ready to tour and do it big.
Arenas : Piggybacking off what Bardo said about Instagram, they're probably not saying that on Instagram because White cops are too busy killing Black people and shooting them in the back. That's a reality that White privilege has led to, it's not only capitalism, but genocide. That's also what we have to live with today. Not only with religion, but with the way communities are divided, with the way we think, with our mental health as a people, with our communities and the disinvestment in them and the lack of education and resources.
This is all very implicit and designed to be this way, to lack people of color of the resources while the few good resources go to the top. That's the system that we've been living under here in the United States for a very, very, very long time. I think for me, "Invisible People" has a very open open-ended meaning, it's a very big concept, and I think it can definitely be understood differently in 10 years, in 30 more years, et cetera.
But right now, to me, it speaks so much about the murder of innocent people, invisible people, who are our family members, our voices, our activists. They're actors of change in our society, the heroes. So, to me, we need to put some extra highlight on that at this moment right now. I don't know how many indie rock bands have gone through that. Dealing with stuff like that was in my mind when bringing up the idea of the song, and the lack of representation we see of Latinos in the media, you don't see us with parts of substance in movies or TV shows.
It's always cliched, and it makes me sick, because we're multi-dimensional. We are more than caricatures. So, that was part of the idea. Also, just tongue-in-cheek like, "Do you see us now? Here we are, this is our record. Will you acknowledge us yet? So, it's a critique on that and how the status quo in the media views us. You've said "Color my life," which opens the album, is about experiencing nature versus being stuck in the city. Was there a specific experience, feeling or place that inspired this song?
Martinez : That's the first time somebody asked me where, what's the location. I appreciate the question. Honestly, it's Oakland. LP) lived in Oakland for a year and a half. That was the first thought, literally what I was thinking about when I was writing those verses. I had some lyrics that were taken out too. During the chorus, "You've got to color my life Anyways, Oakland was definitely the place.
Do you feel now when you perform "Color my life" now, especially in a virtual setting like on the NPR's Tiny Desk, do you feel it has taken on new meaning? Martinez : I'll be honest, it's hard for me to connect with the virtual stuff.
It's difficult. I'm a little numbed by the whole virtual reality experience. But what's the new meaning? I just went to the forest recently, to Mammoth for four days with my family. I needed to do that. Honestly, it's been a long time since I've actually gone camping or anything that because of doing the music thing and touring. This pandemic has given me the opportunity to do some of that. I want to do it more often because it's the most freeing thing, just to be out in nature, it's fantastic.
It's what I try to represent in my music, at least respective to the instrument that I play and the swagger I input and the way I want people to move. We want them to feel that this is the way L. It doesn't matter where, it's rooted in L. My dad immigrated from El Salvador and lived in an apartment complex in Hollywood and went to Hollywood High, which I can't even imagine—what a dichotomy that must have been.
My mom is third generation Mexican-American, so her family's been here since the '20s and they all have roots and stories that come from L. It's always been a big part of who I am and where I come from. I still have family that lives out there and also family that lives in L. It's an important part of my identity. Villa : For me, L. I come from very far away. I was born and raised in Colombia and I've traveled around the world.
I had the opportunity and was so lucky to able to go to Europe and live there before coming to the United States. I lived over there for many years. Coming to L. And there's a lot of things I probably will never understand, like the freeway, but L. I feel it's a big blender and that's something that I like about this city. When I was in France and went to Paris and rode the Metro and saw all these different cultures together, I was like, "This is good. I want to live in a city this. And I ended up living in L.
It's like a dream and every day I'm learning something new. There's a lot going on here in terms of opportunities and work, especially music and media. It's crazy. I'm super glad and lucky to have found my brothers here. The band has embraced me as a Chicano, as a brother, and that's the world for me. Yes, I feel home. Arenas : I'm born and raised in L. That's how I grew up.
I used to sell flowers in the street on Mother's Day and Valentine's Day. We used to sell fruit and vegetables that we'd get, extras from the produce market in downtown L. I grew up with Hollywood movies and TV shows, all this '80s and '90s action stuff—the vanity that comes with that. And the vision of wanting to be something else that also comes with that. Or some, "arriba, arriba" type shit, which we tossed around as culture when we were kids because we don't know better.
But, in a lot of places in the country, they still perceive it like that. Our roots go way back, they're not just bounded to the streets and these grids and these traffic lights, they go down really deep to communities in Mexico, at least for me. I think that's what I can offer. Martinez : I grew up in La Mirada, Calif.
My dad came to Santa Ana, Calif. My mom came to Orange County in the early '80s from Cartagena, Colombia. They established the family. I was the first one to come out and there's only two of us. We moved to La Mirada and lived in some apartments over there for a while, and then they bought a house.
Parks and beaches were part of my family's recreational activities. I look at L. And to be honest, I'm infatuated by its natural beauty, these hills, the mountains, the wildlife, the ocean. I think of things like, "Wow, I can see the sunset over the oceans horizon because I'm facing directly west" in Redondo Beach.
And conversely, the sun sets over the mountains when I'm in Long Beach because I'm facing south. After so many years I can visualize the panorama from various points in relation to the map. Although I navigate L. I guess I try to feel the region I live in, as opposed to think of it in the confines of the names and boundaries, that actually don't exist. The limited edition vinyl pre-order is live today exclusively on Bandcamp along with an expanded digital playlist.
Check atorecords bio for more details. Link also in story. Original pressings of the vinyl also came with a piece of card with numerous cut-outs including a dropping moustache, sergeant stripes and a stand of the four Beatles.
There have been a number of coloured LPs released over the years, including a red version, yellow, orange, a Canada-only pink and grey marbled edition as well as a picture disc of the album artwork. At a run time of around 63 minutes, Hysteria really stretched the limits of how long a standard album at the time could be — unfortunately for audiophiles, Such Love - Tony Goodwin - Such Love (Vinyl, to the detriment of the vinyl pressings.
More recent vinyl releases of the album remedy this by running over two LPs, most notably the 30th anniversary gatefold vinyl re-issue, featuring fully remastered tracks on a strikingly translucent orange g wax. Buy Hysteria on Amazon View Deal.
The former is more easily digestible and catchier; the latter is darker, more gloomy in tone and production because it was recorded live, and also better. It ends suddenly, halfway through a chord sequence, lending this otherwise slick album a threatening edge. However, in years to come the album was recognised as an all-time classic — even by the members of Lynyrd Skynyrd, whose song Sweet Home Alabama was written in response to some anti-Southern sentiments expressed by Young in the song Alabama.
Buy Harvest on vinyl View Deal. Recording sessions at Criteria Studios were often disrupted by the noise from Black Sabbath working on Technical Ecstasy in the studio next door.
A calmer, sweeter, more relaxed vibe permeated the record as a result, itself aided by the fact that Page and Robert Plant composed the songs in a remote Welsh cottage called Bron-Yr-Aur. Sit back in your beanbag, slap some headphones on and immerse yourself in the opening cut, Immigrant Song — the heaviest song on the album. Friends is a deeper song, despite being largely acoustic: where it excels is with its unusual orchestration of Indian-sounding strings. Neither heavy enough for headbangers nor progressive enough for Jethro Tull fans, it fell between two stools, it was thought.
How wrong they were, and how wonderful hindsight is. Released inthe intensely personal Rumours has become the seventh highest-selling studio album of all time with over 45 million copies sold worldwide.
Among the plethora of official and unofficial rereleases over the past 40 years, audiophiles will revel in the version that was released for US Record Store Day, which was cut at 45rpm on heavyweight g vinyl and remastered from the original analogue tapes to achieve maximum audio quality. Buy Rumours on Amazon View Deal. Recording for the album was done in between a busy schedule of live performances, though the trio notoriously laid down entire tracks with minimal fuss.
The original UK release of the LP in May featured a mono mix, but a stereo mix was also produced when the record made its way to the US in August of the same year. There are several differences between the two mixes, including a drumroll on May This Be Love and the sound of Hendrix turning pages of lyrics which are not audible on the mono mix.
To this day, Appetite For Destruction is the best selling debut album, and one of the best selling albums of all time. The opening of Welcome To The Jungle perfectly captures you by teasing with light echoing guitar before building and then exploding into the blues-grooving main riff. The original vinyl release had a different cover to the iconic Celtic cross with the skull of each band member. The first release of the record featured artwork by Robert Williams of a woman being sexually assaulted by a robot and a monster about to attack the robot.
Stores refused to stock the album and the record label replaced the artwork with the one we all know. The ridiculous re-issue of Appetite For Destruction is also available nowand is sure to please even the keenest of GNR-loving audiophiles. Pink Floyd had always been experimental in its approach to music, but the group really wanted to push the envelope further with its new project and suitably enhance the psychedelic-driven sounds that had featured so heavily on its earlier albums. It has influenced a huge number of bands as diverse as Radiohead, My Morning Jacket and The Flaming Lips, who re-imagined the album in Alternatively, you can just pop down your local record emporium and pick up the reissue, which is highly recommended.
Entirely written by Pete Townshend, Quadrophenia follows teenager Jimmy: a misfit kid struggling to work out his place in the world — until, that is, he discovers the mod movement and The Who. Fed up of his life at home, his dead-end job and relationships with friends and family, he moves from London to Brighton.
Jimmy suffers from schizophrenia and has four personalities, which explains the album title. Each of the personalities reflects a member of the band, and explores a theme which reoccurs in the album. Quadrophenia spoke to teens of the time who could relate to its teenage angst. On the vinyl release, inside the gatefold is a summary of the plot of Quadrophenia as well as a booklet of photographs showing Brighton and London during the mod scene, when then album was set.
Buy Quadrophenia on Amazon View Deal.
Children Say (Extended Remix) - Level 42 - Children Say (Cassette), Mr. And Mrs. Peachum, Polly, Macheath, Brown, And Chorus, Farewell To Pride - Kieran Halpin - Mission Street (CD, Album), Slow Pain - Bellhound Choir - Imagine the Crackle (Vinyl, LP, Album), Melanie (2) - Garden In The City (Vinyl, LP, Album), UK Electronica Festival Preview - Various - Re:Mix 2 (CD), Disappear - Beyoncé - I Am... Sasha Fierce (File, Album), Neptune, La Malediction DAmour - Maria Tănase - Maria Tănase (I) (CD), Silver Rails - Weevil - Drunk On Light (CD, Album), Youthanasia - Megadeth - Youthanasia (Box Set, Album), La Nuit Nen Finit Pas, Les Éléments - Fahro - Loin LOuest (CD, Album), Streetknowledge, Foolish Pride - #Kingsativa* - We Did Then (CD, Album)