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Burning Feeling
BE WITH RECORDS
BEWITH 106LP
$38.50 PREORDER RELEASE DATE: 4/22/2022
With the cosmic-disco-drenched Burning Feeling, Steve Moore's high-gloss Lovelock project conjured one of the most slept-on albums of last decade. Chunky, neon-lit synths and crashing, spacey guitars ride chugging Italo basslines and smooth-yet-shuddering drums to thrilling effect. Finally appearing on vinyl for the first time, ten years after its original release. This is the sound of "Big Room Smooth". Be With Records was well aware of Lovelock by way of the rather ace "Don't Turn Away (From My Love)" from the 2008 compilation Cosmic Balearic Beats on Eskimo Recordings. According to Steve "Lovelock is an outlet for me to explore my more pop-oriented ideas, whether it's disco, lounge, soft rock or whatever I try next. When I started the project in 2006, I was listening to a lot of Italo disco so it felt natural to explore those sounds." As well as the spacier end of disco, Steve was also listening to Laura Brannigan, Abba/Frida, S.O.S. Band, Alan Parsons and Jan Hammer at the time. Burning Feeling was written and recorded in Nyack, NY between 2006 and 2008. A couple of tracks made it onto some compilations and, after a few years of failed negotiations, the album eventually came out on CD in 2012 on Internasjonal, the label run by Prins Thomas and Kai Fraeger. The monumental, MDMA-rich title track opens the album and sets the mood. The fizzing, dramatic synth riff refrain intoxicates, before cavernous slo-mo house drums enter the party to devastating effect. It's followed by the hypnotic, prog-Balearic mood piece "The Fog". Dizzying synths never detract from the overall smoothness; this is vital, classy cosmic disco. Pink Floyd-on-pingers languid space-funk makes up "Don't Turn Away (From My Love)". The beautiful, faintly creepy synth-prog of "South Beach Sunrise" closes out the first LP with swathes of lush keys and horns. The synth nexus that is "New Age Of Christ" provides a melodic take on soundtrack Italo. "Maybe Tonight" bubbles up through, swirling into a spiraling blast of sun-kissed, feel-good Balearo-pop. Swarming synth melodies, warm vocals and earnest guitar solos make it one of the album's most immediate hits. The mysterious "Barbara" graces the enormous power-pop-meets-Italo jam "Love Reaction" before closer "Deco District" luxuriates in what Matt Anniss described as a "grandiose combination of poodle-perm campery and rush-inducing arpeggiated synthesizer lines." Steve worked with Be With's audio engineer Simon Francis to remaster Burning Feeling from the original mixes especially for this double vinyl release. Steve also commissioned new artwork from designer Kane Banner.
DJ QUIK
$38.50 PREORDER RELEASE DATE: 3/4/2022
Be With Records present a reissue of DJ Quik's Safe And Sound, originally released in 1995. Complete with "Tanqueray", the hidden track from the original CD release. DJ Quik is a giant of West Coast hip-hop. With 1995's Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He's released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he's also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik's tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton's more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues. By the time of his third album DJ Quik was a household name on the West Coast -- California's premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound -- the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman's talkbox -- defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting. Mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry.
Rhythm-Al-Ism
Be With Records present a reissue of DJ Quik's Rhythm-Al-Ism, originally released in 1998. DJ Quik is a giant of West Coast hip-hop. With his fourth album Rhythm-Al-Ism he created his masterpiece, a perfect hip-hop album. A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He's released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he's also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik's tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton's more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues. Released in 1998 on Profile, Rhythm-Al-Ism was the closest Quik ever got to making a commercial splash. "You'z A Ganxta" and "Hand in Hand" made radio waves across the country and the less radio-friendly tracks like "Medley For A 'V'" were bumping out of car stereos. Combining his soulful, jazzy P-Funk/G-Funk beats with his effortlessly smooth flow, Rhythm-Al-Ism was the quintessential West Coast Party. Squelchy synths, bouncy bass, monstrously knocking drums and freaky keys - this is peaking acidic party-rap, straight out the gate. Dripping with wit and good humor. A real swing to the vibe. Mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Original picture sleeve and insert.
WEISS RHYTHM AND SOUNDS, KLAUS
Sound Inventions (Selected Sound)
Be With Records present a reissue of Klaus Weiss Rhythm And Sounds' Sound Inventions, originally released in 1979. From the notoriously strong mind of Niagara drummer/library-funk overlord Klaus Weiss, Sound Inventions is loaded with tripped out studio funk-freakery, mad samples, and swaggering abstract funk grooves. From dramatic deep disco with dark Italo/Moroder leanings to heavy German funk breaks, this is absolutely sensational. Absolute synth-and-string-drenched magic. Born in 1942 in Gevelsberg, Germany, Klaus Weiss began his career as a jazz drummer at sixteen (with a group called the Jazzopators) before working with the internationally successful '60s groups the Klaus Doldinger Quartet and the Erwin Lehn Big Band. In 1965 he formed his own trio, the first of many groups to bear his name, and as his renown as a bandleader grew over the next decade it naturally led to working in production music. About as cult as it gets when it comes to library music legends (German or otherwise), he produced essential records on German library labels Coloursound, Selected Sound, and Sonoton, as well as making two essential entries in the Conroy catalog. Collections of music in the trademark Klaus Weiss sound of electronics unsurprisingly built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums. Sound Inventions is one of those library records with a hefty track list, 22 in total, but they're all pretty stunning. That's not something you can often say and picking out the highlights is almost impossible. If pushed, go towards the tough teutonic funk of "Drumcrazy", the by turns juddering and sweeping majesty of the title track "Sound Inventions", the aquatic serenity of "Glide", the elegant strut of "Greenwich Street", the muted, eerie cosmic-funk of "Air Space", the squelchy acid-clavs of "Rhythm Function", the calming, melodic "Waves", the stuttering proto-Timbaland sensation that is "Rainbows" and the percussive funk-fueled workout of "A Few Cuts". Founded in the late '60s by German composer and musician Klaus Netzle, Selected Sound began as a production music company specializing in jazz, orchestral and electronic recordings. You can't miss those early LPs in their iconic glossy metallic copper sleeves with minimal German typography. Mastered for vinyl by Simon Francis from audio from the original tapes. Richard Robinson reproduced the original Selected Sound sleeve.
BURDSON, SAMMY
Background Action (Conroy)
Be With Records present a reissue of Sammy Burdson's Background Action, originally released in 1975. Classic library breaks and beats set of super-heavyweight espionage-funk. Rare and sought-after for many years now, this is one of those cult library LPs that rarely turns up on even the deepest dig. Sammy Burdson was one of the many, many aliases of the mighty Austrian composer, arranger and conductor, Gerhard Narholz. Founder of adored library label Sonoton in 1965, and a classically trained composer, his work runs from easy listening through pop, jazz and electronic, to avant-garde. Background Action's first side is all Blaxploitation wah-wah, funky clav and heavy, heavy drums. It's top-quality takes on the sort of hard-knocking psychedelic sleuth-funk that the library labels gave us in spades. However, the real killers are over on side B. Styles upon styles upon styles. The trio of swish "Water Pollution" variations are pure gold. The two-part mid-tempo b-boy drumathon "News Background" is nothing short of epic whilst the sensational "Kabul Trip A" and "Kabul Trip B" are two different takes on some tough funk, street jazz style with some dope organ, bass and drum sounds. In short, this is a must for both DJs and producers. The British library label with those instantly recognizable "orangey-red" sleeves, Conroy began releasing production music in 1965. A sub-label of Berry Music Co, its catalog typified the library industry's strange mixture of tradition and experimentation from the start. Conroy's early releases included work by big band stalwarts like Eddie Warner as well as early electronic recordings by the likes of Belgian experimental pioneer Arséne Souffriau. With Berry Music Co working as a distribution partner to the German library label Sonoton, it was through the Conroy that a great deal of German library music found its way into the UK market. Conroy stopped putting out new music in the 1980s, but its history and its catalog offer an excellent window into the trends and eccentricities of a highly unique industry at the height of its international appeal. Mastered for vinyl by Simon Francis from audio from the original tapes. Richard Robinson reproduced the original Conroy sleeve.
BURDSON/KLAUS WEISS/LARRY ROBBINS BACKGROUND RHYTHMS, SAMMY
Dramatic Tempi / Larry Robbins Background Rhythms (Conroy)
Be With Records present a reissue of Dramatic Tempi / Larry Robbins Background Rhythms, originally released in 1975. Classic library breaks and beats set of heavy drums and louche funk. The first side, "Dramatic Tempi", is made up of four tracks each from Sammy Burdson and Klaus Weiss. Sammy Burdson was one of the many, many aliases of the mighty Austrian composer, arranger and conductor, Gerhard Narholz. Klaus Weiss produced essential records on German library labels Coloursound, Selected Sound, and Sonoton, as well as making two essential entries in the Conroy catalog. The second side is both titled and also credited to Larry Robbins Background Rhythms. Who Larry was is unknown, but it's not too much of a stretch to think it might be another incarnation of Gerhard Narholz. First up from "Dramatic Tempi" are the phased, gargantuan hip-hop beats of Sammy Burdson's impeccable "Pop Waves". The magnificently titled "Cyclodrom" is a beast of booming bass and wah wah guitars over frenetic funk drums. "Devils Drive" is dramatic, blaxploitation street funk with rolling, pounding drums. "Crime Ways" is an acid-squelch, slow-pace neck-snapper. Klaus Weiss starts by asking "Is It Hip" with clean, skipping drums, booming bass, and proto-hip-hop bells, layered beneath laconic and melodic guitar shredding. "The Camp", propelled by jazzy guitar à la Joe Pass over fast drum and conga breaks, gives way to the dark guitars and cymbal crashes of "Tomorrow". It sounds like an early New Order jam session. Closing out a pretty startling side of library greatness, "Rhythm Trip" presents early stuttering funk before easin' on in to a jazzy, soulful groove; all breezy guitar and warm keys. Larry Robbins Background Rhythms is a lighter, poppier affair, but it's not without its drum-heavy bangers. "Vox Pop" and "Pop Phase" each have clean, open-ish drum breaks, ripe for sampling or more daring DJ sets. "Pop Twang" is a short and sweet beat-heavy number that gives way to the fantastically out-there "Canned Pop". The final seven tracks are a set of 1-to-2 minute "Percussion Takes". The British library label with those instantly recognizable "orangey-red" sleeves, Conroy began releasing production music in 1965. A sub-label of Berry Music Co, its catalog typified the library industry's strange mixture of tradition and experimentation from the start. Conroy's early releases included work by big band stalwarts like Eddie Warner as well as early electronic recordings by the likes of Belgian experimental pioneer Arséne Souffriau. Mastered for vinyl by Simon Francis from audio from the original tapes. Richard Robinson reproduced the original Conroy sleeve.
FREESTYLE FELLOWSHIP
Innercity Griots
Innercity Griots, the second album from Freestyle Fellowship, is perhaps the essential West Coast left-field rap album of the early '90s. Released in 1993 on 4th & Broadway, it's a towering, progressive hip-hop masterpiece that expanded rap's boundaries through lyrical elevation and production innovation. Their talent was ahead of everybody else by light years. This is pure b-boy jazz. Be With reissue includes "Pure Thought" from the CD version of the album. Freestyle Fellowship were some of the earliest technically dazzling rappers to come out of California. Mikah 9, P.E.A.C.E., Aceyalone and Self Jupiter -- along with DJ Kiilu -- forged their famed lyrical dexterity in the ultra-competitive crucible of the Good Life Cafe. Founded in Leimert Park, South Central LA in December 1989, this earthy health-food store and cafe was where the city's finest microphone fiends would gather to showcase their freestyle skills at the Thursday night open-mic. Innercity Griots has been described as the Rosetta Stone for rap styles. The group's dense, vibrant wordplay and enviable interplay quickly earned the attention and respect of the city's hip-hop underground. Frenetically trading acrobatic rhymes with agility and grace, the Fellowship used their voices as instruments like true virtuosos, spraying improvised raps like a Coltrane sax solo. With the bulk of the album's production handled by The Earthquake Brothers, and Bambawar, Daddy-O, and Edman taking over for some of the tracks, Innercity Griots dances between organic and programmed music, largely forgoing sampling and instead built around live jazz jams. The likes of Freddie Hubbard's "Red Clay" and Miles Davis's "Black Comedy" were used more as templates for house band The Underground Railroad Band to spiral out from. As Pitchfork noted in their recent 9.0 review of this classic album, "Freestyle Fellowship embodied the style and spirit of jazz on a molecular level. They shared the effortless cool and tough countenance of the great bebop players from the '50s without verging into jazz-rap parody." The unusual approach to the music was matched by the Fellowship's lyrics. Eschewing the tired rap tropes of the time, this multifaceted album instead explores their ruminations on greed and homelessness, weed, sex, survival, insecurity and tribalism. Remastered by Simon Francis, cut by Pete Norman.
HUTCH, WILLIE
$29.50 NOT IN STOCK
2022 repress. Be With Records present a reissue of Willie Hutch's Season For Love, originally released in 1970. A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the '70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs. Often-overlooked, his second album Season For Love is a must for all deep soul fans and has been sought-after by collectors of different stripes for decades. Whereas his debut featured thundering, gritty numbers, Hutch treats you to a mellower soul here -- sumptuous, warm and string-led. He compared his approach to that of Otis Redding and there are definite parallels; from the raspy, rough-hewn vocals that tend to roam between sweet and deeply impassioned to the horn-heavy, emphatic sonic backdrops. With flawless originals presented alongside a few well-chosen classics (his stunning cover of "Wichita Lineman" arguably bests the original's splendor), it's easy to see why sample-based musicians have been falling over themselves to plunder from this album. Witness the sweeping strings that grace "The Magic Of Love" and the heartbreaking "Walking On My Love"; the mellifluous guitar work on the contemplative instrumental "The Shortest Distance" and gorgeous single "When A Boy Falls In Love". Whilst the arrangements and playing are subtly jaw-dropping throughout, Hutch's uncontrived voice has a certain warmth to match a Nat "King" Cole and a purity of tone that even recalls the great Sam Cooke. Indeed, a few numbers are almost in a jazz vocal territory reminiscent of artists Lou Rawls. That's not to say that others lack the righteous energy and undeniable groove of Willie's later sound. Remarkably consistent throughout -- a rare commodity for many '70s soul albums -- the lack of one signature song likely hindered its progress. Mastered for vinyl by Simon Francis. Original artwork. 180 gram vinyl.
RUSSELL, ARTHUR
Another Thought
BEWITH 003CD
Another Thought was the first collection of Arthur Russell's music to be released after his death in 1992. Released on CD by Point Music in 1993 it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With Records revisits this first compilation. This is the only place where you can hear some of Arthur's most recognizable music, like the title track "Another Thought", "A Little Lost", "This Is How We Walk On The Moon", "Keeping Up" and the woozy disco of "In The Light Of The Miracle" and "My Tiger, My Timing". Though technically a compilation, the whole of Another Thought comes together as a consistent, coherent, wonderful album. Janette Beckman reproduced her iconic photograph of Arthur in his newspaper boat hat for the sleeve. Tom Lee gave permission to include his liner notes from the original CD booklet, together with Arthur's lyrics. Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact, it's essential for any fan of non-obvious pop music. CD version comes in triple-fold digipack with insert and original liner notes.
MIGHTY SOULMATES, THE
The Mighty Soulmates
BEWITH 016EP
The Mighty Soulmates is a towering early '90s project from the legitimate super group of André Cymone (bass player with Prince), St. Paul Peterson (keyboard player in The Time and lead singer in Prince's group The Family), Mic Murphy (of Sass and The System fame) and Gardner Cole (writer, producer and musician probably best known for his work with Madonna). The sound is a majestic blend of sophisticated funk, emotional R&B, new jack swing flava and slick deep soul. These should-be legendary sessions have been almost a secret since they were recorded back in 1993. From all the tracks Mic sent over, Be With Records cherry picked the absolute cream for a tight four-track EP. A mixture of beat ballads and up-tempo non-hits, coming on like Al B Sure! or Babyface take on Shalamar or even The Purple One. The feel-good dancefloor dynamite of "I Wanna Be The One" is the explosive opening track. A piano-driven, groove-laden blast of yearning deep-pop, with perfectly delivered soulful vocals and an unmistakable "early '90s" sound. Indeed, fans of Eddie Chacon's old group will dig this for days. "Back In The Day" has a timeless swing and swagger, the lyrics reminiscing about the halcyon street life of the Soulmates' youth, about Curtis, Superfly and innocent days gone by, about hustling with friends. Yet more spine-tingling vocals over yet another perfectly produced musical backdrop. "Blue Tuesday" is the thrilling pinnacle of the EP, at least for us. It's absolute soulful-pop perfection. A soaring beat ballad full of chiming guitars, gorgeous harmonizing, falsetto backing vocals and a real steppers' groove. Dramatic, purple-hued closer "Private Time" seems to predict the Timbaland-dominated sound of the mid-to-late '90s, all synthetic strings and squelchy, acidic-drum-machine soul. This EP represents the sound of four incredibly soulful, talented, and influential (soul)mates jamming together over one long hot summer and weaving pure sonic magic.
Double-LP version. Gatefold sleeve with insert and original liner notes. Another Thought was the first collection of Arthur Russell's music to be released after his death in 1992. Released on CD by Point Music in 1993 it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With Records revisits this first compilation. This is the only place where you can hear some of Arthur's most recognizable music, like the title track "Another Thought", "A Little Lost", "This Is How We Walk On The Moon", "Keeping Up" and the woozy disco of "In The Light Of The Miracle" and "My Tiger, My Timing". Though technically a compilation, the whole of Another Thought comes together as a consistent, coherent, wonderful album. Janette Beckman reproduced her iconic photograph of Arthur in his newspaper boat hat for the sleeve. Tom Lee gave permission to include his liner notes from the original CD booklet, together with Arthur's lyrics. Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact, it's essential for any fan of non-obvious pop music.
CARR'S NUCLEUS, IAN
Be With Records present a reissue of Ian Carr's Nucleus' Roots, originally released on Vertigo in 1973. From the wild cover to the iconic breakbeats, Roots is thick, funky-prog jazz-rock heaven. Genius trumpeter and visionary composer Ian Carr was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet. The title track is a low-slung, doped-out heist-funk. It was sampled by Madlib for Lootpack and Quasimoto's "Loop Digga". The soothing vocal fusion delight of "Images" follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates' silky vocals and Dave MacRae's Rhodes never sounding better. The cool, driving "Caliban" closes out the first side. Originally the third movement in a four-part commission to celebrate Shakespeare's birthday it stands up on its own, all robust rhythms and blended brass. Keyboard color and Carr's trumpet are splashed across the funk drums and basslines (and there's even some bamboo flute). Side two opens with the short, thrilling samba of "Wapatiti". Next up, "Capricorn" forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would've envied, "Odokamona" is a venomous slice of riff-soaked jazz metal, elevated by Carr's wah-wah horns. The album closes with MacRae's exceptionally cosmic "Southern Roots And Celebration". Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. Keith Davis's cover art for Roots is an acid-tinged airbrush dystopian/utopian living-room party scene. Remastered by Simon Francis from the original Vertigo master tapes. Cut by Pete Norman.
TAYLOR, LEWIS
Lewis Taylor
Be With Records present a reissue of Lewis Taylor's self-titled album, originally released in 1996. D'Angelo lost his shit over it. Aaliyah's third favorite track of all time is on it. David Bowie rocked up with it to a TV interview, declaring it "the most exciting sound of contemporary soul music." In 1996, Lewis Taylor released his self-titled masterpiece. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike. But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find. Lewis Taylor's impeccable influences created a dazzling sonic palette: the LP as a whole suggests the visionary brilliance of Prince; the vocal stylings evoke the yearning power of Marvin Gaye; the effortless guitar playing shares the virtuosity of Jimi Hendrix; the haunting tones conjure Tricky; the innovative production and engineering invite comparisons to studio mavericks like Todd Rundgren and Brian Eno; the multi-layered, complex harmonies flash on Pet Sounds-era Brian Wilson; the dark, drama is reminiscent of both Scott Walker and Stevie Wonder; the complex arrangements create textures and moods with the feel of Shuggie Otis on Inspiration Information; the bold experimentation is akin to progressive artists like Faust and Tangerine Dream; the atmosphere is in conversation with Jeff Buckley's Grace. Sabina Smyth gets an executive producer credit on the original sleeve, but in fact she worked with Lewis on the production and arrangements, did a lot of the backing vocals and she co-wrote "Track", "Song", "Lucky", and "Damn" with Lewis. Together they created an exquisite and sensually-charged record, with a freshness to the writing that makes the songs catchy, melodic-yet-deep and sometimes even funky. The music is predominantly guitar-led and a mixture of organs and synths, live drum loops and electronic percussion make for a sort of modern soul backing orchestra. On the surface the album is gorgeously laidback, but beneath the lush, sometimes slick, production there's a murkiness in the seriously gritty funk/hip-hop instrumentation. This sprawling psychedelic soul opus really is a forgotten should-be-classic. Cut by Pete Norman and pressed at Record Industry.
MASTON
Darkland
Maston's Darkland is a breezy collection of the material from the Tulips (BEWITH 087LP) sessions that didn't make it on to the original LP. Originally a digital-only release for those in the know in the autumn of 2018, after re-issuing Tulips in 2020 it made too much sense for Be With to give Darkland a vinyl release. Like Tulips, Darkland was recorded mostly in Hoorn, in the Netherlands, between 2015-2017 during downtime from Frank's touring duties with Jacco Gardner's band. Bits were also done in Los Angeles on some extended trips back home. The collection plays like an alternate view of Maston's instant modern classic Tulips; a companion piece to the LP proper with similar mixture of shorter themes and more full-length tracks. Darkland opens with its ornate 39 second title-track before striding into "Tulips", that full-length title-track that never was. It's a real head-nod, percussive-rich electric piano stunner that would've been a comfortable standout on the album proper. But now this "downlifting" gem is given ample room to shine on this record. The funky organ-led bass and drums workout "Immaculate Conception" will keep your neck gently snapping while MPC fiends go reaching for their sampler. "Love Theme No 3" cuts a breathtakingly stylish vibra-slapped swathe through the middle of the opening side before we're startled by the pronounced bass and twinkling percussion of "The Owl In Daylight". Charming digi-drums underpin the wonky synth (quiet-)banger "Innovative Patterns" which has a lovely melodic switch-up in the final third before the tempo (and hairs on your neck) rise on the faintly creepy yet imminently groovy "Osiris". The gorgeously soft-focus "Groove Experiment No 3" closes out the first half in slo-mo wonderment. The lushly melancholic "Raincloud" ushers in side B before the emotionally-stirring "Phonic" taps at the door, coming on like the long lost sister to Pet Sounds' "Let's Go Away For A While". Next up, the swooning beauty "Love Theme No 2" keenly sways in front of you, growing ever more insistent and hypnotic. The too-short "Italian Summer" conjures the same flirtatious imagery as the title hints at whilst "Endless" is a fascinating "piano-pella" alternative version to "Rain Dance" from Tulips. "Wonder Theme" has a nostalgic, exotic 60s swing and album closer "Willow" is a hushed, campfire folk gem. The gently circular strumming is just magical. Mastered by Simon Francis.
MANSFIELD, KEITH
Vivid Underscores (KPM)
They say: "Contemporary scores for visual effect." Be With Records say: "Synth-heavy, low-slung space-funk masterpiece." The creator of the romping tunes that became the iconic themes to the BBC's Grandstand program and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM's most prolific artist from the mid-1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino has included some of Keith's work on the soundtracks to Kill Bill and Grindhouse (2007). Mansfield's Vivid Underscores from 1977 is a sample freak's wet dream. "High Velocity" sets the tone with its aggressive horns, wah-wah guitars, funky baseline and wobbly synth refrain. "Crash Course" -- Stetsasonic horn refrain? Beautiful -- jazzy chase-funk, amazing warm keys, percussion, and funky horns -- all action. The more restrained "Matter Of Urgency" is an utterly amazing, brass-heavy underscore. The grandiose, uplifting "Dawn Of Aquarius" still sounds like the future with its tense, thundering drums, killer bassline and swirling synths. Version II loses the drums and percussion but is no less startling. "Staying Power" closes the first side with a relentless, pounding groove. "Trucking Company" is a pacey, synth-and-string masterpiece and its accompanying parts mess with the formula to great effect. "Hot Cargo" and "Espionage" are both tense spy-funk themes par excellence. "Interplay" is a quiet killer, with flutes over a glistening piano refrain just waiting to be looped. "Omen" is a mini-drama masterpiece, one only Mansfield could create. Even though it is a mix of short themes in-and-amongst longer, full-length tracks, Vivid Underscores is still thoroughly listenable from start to finish. Original analog tapes remastered for vinyl by Simon Francis. 180 gram vinyl.
MORGAN AND RAY COOPER, BARRY
Percussion Spectrum (Themes)
They say: "Exploring the wide range of moods and sounds produced by percussion." Be With Records say: "MPCs at the ready because this does exactly what it says on the tin, to devastating effect." Originally released in 1979, Percussion Spectrum was produced by the legendary percussionists Barry Morgan and Ray Cooper. With dope beats taking in diverse styles, from funk and soul and jazz through to Latin, Brazilian, samba and Afro-Cuban, this is an amazing sample source filled with killer drum-breaks and percussion flares. This library LP is a mix of short themes of single beats, short breaks and some longer, more fully-formed DJ-friendly tracks. Of all the 34 tracks Be With's favorites include opener "Impulsion", a percussive masterclass with drum upon drum making it feel like a neat prototype to the percussive underscores of Peter Lüdemann and Pit Troja's eternal The Now Generation LP. And the dramatic "Fast Action" is exactly that, racing along on a rapid roll of congas, cymbal crashes and throbbing kicks. "The Chaser" is classic library cop-funk with dilapidated drum figures, and the outrageously funky "Heat On" is the perfect accompaniment to your wild action sequences. A real highlight is "Runaway", and not just because it sounds like nothing else on the record. Here are drums and percussion in that tight funk style that just cries out to be sampled. "Percussion Power" is an extended, near three-minute suite of funky drum solo after funky drum solo that just aches to be looped. "Shivers" is a tense, apprehensive underscore with shock stabs that builds to a climax whilst "Drums On Parade" is a showcase of head-nod drums and cymbals in march time. "Samba Street" is riotous, authentically drawn samba that sounds like it's been beamed straight in from Rio in full flow. The simple, innocent "Child's Themes" (all five of them) provide a nice, sweet respite from all the funk. Nursery sounds tinged with only a touch of melancholy. The gentle marimba solo of "Tropical Peace" only adds to the sense of serenity we get from the relatively calm second side. The album closes out with a veritable toolkit of tom toms, snare drum rolls, timpani, vibraphones and chiming bells. Percussion Spectrum is a joyous collection of sounds, as bright, beaming and downright funky as the vibrant cover. Original analog tapes remastered for vinyl by Simon Francis. 180 gram vinyl.
Contempo (KPM)
They say: "New directions in contemporary scoring." Be With Records say: "Contempo is one of the best full album listens in the KPM 1000 library." Succinct smoking soul, super tight breaks and string-drenched sleaze composed by the library master, Keith Mansfield. Many library records are a game of two halves and Contempo is certainly one of those. The first side cooks on a high funk breaks flame whilst the flip is something altogether more tranquil, yet no less groovy. It lays back with dreamier, post-coital grooves. Rugged funk opener "The Fix" confidently displays its low-slung languid grooves with heavy drums, horns, and bass. The punchy "What's Cooking" follows and has a lighter, more whimsical touch. But the drums still roll and the clavs wiggle in fascinating opposition to those horns. The dark and moody intro to "Cut To Music" gives way to a more inclusive, relaxed funk that's all irresistible bass and stabbing horns. The mid-tempo "Man Alive" signals the time to really get down. Closing out the A side, fresh guitar licks drip all over the slick drums of "Funky Footage", with a New Orleans piano vibe coming on to really light a fire. The B side is more smoothed out, with beautifully arranged, sweeping strings, sax solos aplenty, and a real '70s soundtrack feel. The super sleek and sexy jazz funk of "Breezin'" is as light and magical as you'd hope. An open-air masterpiece, its indulgent sound is just a taster of the sophisticated funk to follow. The elegant, romantic feels of "Good Vibrations" is a string-drenched, wah-wah fueled ode to living your best life. Whilst it keeps a very West Coast feel, the blaxploitation strut is certainly more Blackbyrds than Brian Wilson. "Sun Goddess" will blow your mind with the sensuous sound of glorious horns and beautiful keys. The luxurious "Love De Luxe" and its horizontal grooves have been much sampled, but here it proves that it doesn't need any help to get you in an intimate mood. Closer "Snake Hips" is a cool mid-pace slouch. Originally released in 1976 but, like the very best KPM records, wonderfully timeless, Contempo is a rare example of a library record that is a genuinely great listen from start to finish. Reissued from the original analog tapes and remastered for vinyl by Simon Francis. 180 gram vinyl.
WHISPERS, THE
Keep On Lovin' Me/Turn Me Out
Two seminal 12" mixes of a pair of enormous tracks from The Whispers. Both boogie/street-funk flavored, these sought-after versions have never been paired on the same record before. Side A features the notorious anthem "Keep On Lovin' Me" (the one with *that* life affirming video) whilst over on the flip you'll find the outstanding, semi-slept-on "Turn Me Out". Freshly re-pressed for 2021.
RUIZ, JORGE LOPEZ
El Grito (Suite Para Orquesta De Jazz)
Be With Records present a reissue of Jorge López Ruiz's El Grito (Suite Para Orquesta De Jazz), eternal Argentinian magic released on CBS in 1967. One of the most sought-after South American jazz LPs. Living in Buenos Aires in the '60s, driven by creative impulse and rage Jorge López Ruiz used music as his platform to protest the Argentine military dictatorship. A young López Ruiz had appeared on a television panel alongside writer, politician and philosopher Arturo Jauretche, criticizing the Onganía dictatorship. Jauretche told López Ruiz "Now say it with music". This was the deep inhale that lead to El Grito, literally "The Scream". El Grito was banned not long after it was released and the majority of original copies were unceremoniously destroyed. A rare record for over 50 years, El Grito (Suite Para Orquesta De Jazz) is a showcase for Jorge López Ruiz's skills as a composer and arranger as he leads a virtuoso orchestra of the likes of Mario Cosentino (alto sax), Baby López Furst (piano), Pichi Mazzei (drums), Gustavo Bergalli (trumpet), Oscar López Ruiz (guitar), Arturo Schneider (flute), and Jorge López Ruiz himself plays double bass on the fourth and fifth movements. As the album's sub-title explains, the album is a jazz orchestra concept suite. Five movements, to be heard as a whole, that end where they begin. "El Grito" grabs you by the lapels and refuses to let go. Raw then controlled, it's by turns stabbing then soothing, with rage weaved in and out of the elegant styles. With a tense introduction and a patient build, in "M.A.B. Amor" a gentle sax sweeps in to lift everything up to meet the serene piano and soft drums. Elegantly paced, it moves back and forth between deep contemplation and a more urgent call and response between strings and horns. "Hasta El Cielo, Sin Nubes, Con Todas Las Estrellas (Up To The Sky, No Clouds, With All The Stars)" a relatively brief mid-tempo piece featuring López Ruiz's insistent bass notes high in the mix, and again blending the sublime with the emotive with its wild horns and tight rhythm section. It's followed by "Tendré El Mundo (I Will Have The World)" which also leads with hypnotic bass, but this time swifter, driven by crashing drums, rapid horn conversations and effortlessly cool piano flourishes. Rounding out the suite, "De Nuevo El Grito" is a stylish closer. Whilst López Ruiz's bass shifts the track along, the horns and piano are more restrained, yet no less stunning. Remastered from original audio, mastering by Simon Francis. Cut by Pete Norman.
MOTHER FREEDOM BAND
Cutting The Chord
Repressed. Be With Records present a reissue of Mother Freedom Band's Cutting The Chord, originally released in 1977. Mother Freedom Band's Cutting The Chord is a funky modern soul classic. It's both a criminally under-appreciated album, a sweet disco-funk groover. Produced by the great Al Goodman from The Moments and originally released in 1977, Cutting The Chord seems to be one of the lesser known releases on the curious, and often great All Platinum label. Other than a 7" of a couple of these tracks, the only thing that the band seem to have released is this album, and what an album it is. Unbeatable soul-funk of the highest quality. The album bursts open with "Love Will Stay In Your Corner", a soulful dancer that reliably slays any funk set. It's followed by the lithe disco funk "Flick Of The Wrist" that's all bubbling baselines and elegant horns. The groovy, horn-enhanced sweet soul of "Gotta Get It Back" is equal parts heartbreaker/hip-shaker and the acidic organs on "Mr Brother" are an experiment in synth soul. Perhaps the group's best-known track, "Beautiful Summer's Day" is pure piano-driven paradise soul. A tropical birdsong intro sets the scene of a warm, perfect sunshine day and the lead vocal soars over the lush, clean production. The brilliantly-named "(Assistants Rag) When You're Hot, You're Hot" opens side two. Another huge highlight, it's a laid-back, power-funk workout that sounds incredibly modern, like something off the last D'Angelo record. The horn-heavy, clav-stabbing-stomper "We Like To Boogie" keeps things fast and funky before the airy, heavenly harmony soul of "Come On Home" mellows us all out. Things pick up again with "Touch Me", and you might recognize its addictive elements sampled in Jay-Z's Kanye West-produced "A Star Was Born". The magical, reggae-tinged, gospel-influenced "Sweet Love" closes out this assured, classy set. It can be said that Cutting The Chord is a rare example of a funk-soul LP which is killer from start-to-finish. Sure, there are the stand-out bombs, but the whole thing is a complete and varied album of feel-good vibes held together by its fluid horns, tight, tight rhythm section and beautiful vocals. Mastered for vinyl from the original analog tapes by Simon Francis, cut by Pete Norman and artwork restored at Be With HQ.
MOORE, STEVE
Analog Sensitivity (KPM)
When a synth master like Steve Moore joins forces with the legendary KPM, magic must materialize. And so it does with Analog Sensitivity: cinematic, enigmatic synth scapes to both haunt and heal. New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock, and under his own name. Rather than being commissioned by KPM, Analog Sensitivity comes from music Steve was recording sporadically and tinkering with for over three years during the downtime between his film projects. After Jon Tye invited him to play on the Ocean Moon project for KPM, Steve realized that the hallowed library label might be the perfect home for what he had been working on. Finishing production in late 2019 in Albany, NY, he came up with the track sequencing and suddenly, he had an album: Analog Sensitivity. The LP opens with the dystopian electronic minimalism of "Eldborg", its dark synth bass unfolding to ominous synth pads, shadowy sustains, and glistening arpeggios. "At The Edge Of Perception" brings an unsettling retro-future of edgy analog leads and desolate FX. The sound of a robotic core tears through the sparse textures of the enigmatic "Rose Of Charon". A chilling breeze blows through a persistent, hypnotic synth sequence on "Time Freeze". Title track "Analog Sensitivity" is a sparkling transcendental synth scape of melody, drones, and celestial synth. The brooding "Behind The Waterfall" winds down the first side, building subtle strings and a desolate sound beneath its haunting organ. "Mirror Mountain" ushers in side two, its woozy bass and arpeggio unfolding to envelop the muffled, muted echoes of its organic leads. "Syzygy" emerges you in bubbling sequences, airiness, and ambient electric guitar tones. It's followed by the cinematic minimalism of "Pentagram Of Venus" and its trickling FX. The wind swirls through the otherworldly "Of Dust Thou Art" kicking up clouds of unsettling, plodding synth sequences leading to the uneasy atmosphere of "Message From The Beast". Closing track "Urge Surfing" is as cool a climax as you'd hope from something so brilliantly titled, riding along hushed waves of brooding electronics. Mastering by Simon Francis, cut by Pete Norman, pressed in the Netherlands by Record Industry.
Un Muneco De Madera
Repressed. Be With Records present a reissue of Sola's Un Muñeco De Madera, originally released in 1971. Originally released on RCA in Mexico, it's kaleidoscopic Acapulcan-funk. The album's endless grooves are propelled by softly rocking, quasi-library funk breaks. Vocally, Sola is in step with the '60s French pop-chanteuse style, but of course her lyrics are delivered in sensuous Spanish. Her voice is beautiful. Pillowy soft and tender, it can suddenly explode in mystical anger. These are ten tracks of moody, mysterious vibes that stir the spirit and sooth the soul. The LP was written, arranged, and directed by prolific Spanish composer Manuel Alejandro, the man behind an incredible number of now classic Latin love songs from the '60s, '70s, and '80s. As for Sola herself, next to nothing is known about the Mexican singer except the occasional whisper heard in only the darkest corners of the annals of music history. It's said that upon growing disillusioned with the music industry she ended up in a convent of Carmelite Sisters. Fitting perhaps, given that Un Muñeco De Madera is a spiritual wonder of a record. Much-loved single and title-track "Un Muñeco De Madera" opens the album. It introduces us to Sola's sparkling Latin-funk, bursting with swaggering grooves sewn by tight drums, sweeping strings and lush keys. It's followed by the serene but melancholic bossa groove of "Oye Mamá, Oye Papá" and the strings and guitar of "He Bajado Al Infierno" that hold up vocals reaching for an eternal truth. With full-on soundtrack-y feels, the rolling keys underpinning the Morricone-esque soundscape of "En Ellos Creo" will give you goosebumps. The gorgeous "Soy Rebelde" ("I'm Rebellious"), sets its gentle, piano-led delivery in delicate contrast to the lyrical sentiment. Perhaps Sola's most well-known track, the exotic bossa of "Tabu, Tabu", is a formidable groove. Elegant bongos, prominent bass, delicate acoustics, and a persistent flute blend with Sola's unique voice; sinuous, sassy, and forceful at the same time. The stunning "La Última Palabra", while not literally the album's last word, is nevertheless a stirring statement of strutting Latin soul, with more musical ideas packed into this one song than the entirety of most long-players. If you hadn't decided already, the final two tracks that are the funk-fueled "Bada-Bada-Ba" and the horn-heavy percussive masterclass "Únete A Mi" will leave you in no doubt that this is one very special record. Mastered by Simon Francis, cut by Pete Norman. Remastered from the original tapes.
RICHFORD & GARY STEVAN, JAY
Repressed! Be With Records present a reissue of Jay Richford and Gary Stevan's Feelings, originally released in 1974. Since its original release on Italian label Carosello in 1974, Richford and Stevan's Feelings has been described as the greatest library record ever released more than once. It's a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres. As the story goes, these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn't use their real names on the original release for legal reasons. But Torossi himself later both clarified and confused the tale further by explaining that fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on Feelings. Infectiously funky, deliciously melodic and with impeccable, elegant production, Feelings record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso. The record's first side lifts off with "Flying High", soaring brilliant and shimmering with funk licks, menacing strings, and swaggering horns. The string-drenched cop-funk of "Going Home" raises the tempo with quick-fire bass lines and killer electric guitar. "Walking In The Dark" positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano, and more filthy wah-wah. "Fighting For Life" is another funk-fueled workout built around an effortlessly relentless drum track. The loping, open drum break that guides the much-loved "Feeling Tense" is filled out by heavy bass gloss, swirling strings, and ominous horns. "Running Fast" is a fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. "Loving Tenderly" envelops you in warm, velvety night-time vibes with easy listening horns and slinky strings. The pace picks up on the electrifying "Fearing Much" where strings dart around deep bass, buzzing guitars, and another funky drum break. The lush, melancholic "Being Friendly" is another easy beauty, all warm Rhodes and strings. The climactic "Having Fun" rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings, and triumphant horns. Groove-laden bass, irrepressible horns, sweet flute lines, warm Rhodes, lush string arrangements, blaxploitation-styled wah-wah guitars and more make Feelings one of the finest instrumental soul LPs of the '70s, if not of all time. Remastered for vinyl by Simon Francis and cut by Pete Norman. Remastered from the original tapes.
OCEAN MOON
Crystal Harmonics (KPM)
Ocean Moon is a solo project from Jon Tye of Seahawks. A long-time explorer of the sounds of spaciousness, having released the ambient classic LP iO in 1994 as MLO, Crystal Harmonics is a document of Jon's latest discoveries. Island Visions (BEWITH 077LP), the recent collection of music from Seahawks for KPM, touched on the deeper, more spatial side of music and led to Jon exploring this territory in greater depth, again for KPM, under his Ocean Moon alter ego. This time he brought along some of today's most visionary musicians: Jon Brooks (The Advisory Circle, Ghostbox) for his intuitive melodic mastery, Seaming To (Graham Massey's Toolshed) for her extraordinary vocal talents, Steve Moore (Zombi) for his sophisticated and inventive rhythmic sensibility, and Richard Norris (The Grid) for his sensitive and deeply resonant ambience. The initial recordings were made at The Centre Of Sound in Cornwall, with the collaborators various contributions coming from London, Derbyshire and the US. The supremely serene electronic flute and bells of "Crystal Drift" ease you into the journey and you take the next steps with "Rainbow Ripples" as it gently folds space with arpeggiated synth swells and delicate machine beats. Light vocal tones, bells, and breath FX on "And Breathe" keep you going, accompanied by synth drones and billows of electric piano. You travel through the synth-space-surf haze of "Lost Oceans", with soft bass and warm ambience, to reach the "New Infinity" of revolving melody, spacious pads, and light electronic beats. The celestial tone floats of "White Mirror" close out the first side. Temple bells ring out to running water flowing together with deep resonant vocal tones as the second side opens with "Peace Bells". "Revolving and Evolving" follows, a tranquil electronic meadow of lush pastoral synth tones where you rest for a while for "Mountain Dreaming", a light rhythmic dance of zither and birdsong. The undulating "Forest Motion" ripples with synth arpeggios, dreamy Solina strings and percussive modular electronics before allowing the crackling ambience and Cantonese whispers of "Sleep Golden" to wash over you. Finally, you find yourself on "The Long Path", its warm temple ambience of drones and chants guiding you home. Crystal Harmonics is inspired by four particular albums from KPM's catalog: There's The Electronic Light Orchestra by Adrian Wagner (1975) and then Temple Of The Stars, Breath Of Life, and finally Keith Mansfield's Circles, these last three coming from KPM's mid-1980s run of modern classical/new age gems. Mastered by Simon Francis, cut by the legendary Pete Norman.
Suzie Super Groupie
$29.00 LOW STOCK LEVEL
Be With Records present a reissue of Junie's Suzie Super Groupie, originally released in 1976. Walter "Junie" Morrison released his third solo LP, Suzie Super Groupie, in 1976. A slick, smooth and soulful record, it's a genre-melting tour de force with rich elements of proto-boogie, funk, and jazz. The sublime "Suzie Thundertussy" was brilliantly sampled by Madlib for Kanye West's "No More Parties In LA". The track opens with a sinuous synth and combines Junie's storytelling abilities with an emphatic vocal style and funky arrangements. The powerful bass and sinister chords create an undeniable groove, and the explosive chorus is full of ambition and joy. "If You Love Him" is a great, mid-tempo soul song. With a swinging jazz-infused middle-eight, it demonstrates Junie was much more than a mercurial funkateer. The laconic groove of "What Am I Gonna Do" recalls Fresh-era Sly Stone, whilst the frantic "Super Groupie" showcases his sharp imagination and sense of fun. The lyrics range from humorous to dirty, all fueled by an infectious groove and tight horn arrangements. The P-Funk of B-side opener "Surrender" bounces and sparkles, with a strutting Junie backed by great harmony vocals and joyous horns. "Suzie" is a sleek, softer affair albeit with a disco pulse; a beautiful combination of bright, funky horns, fluid basslines and vigorous rhythms. "Stone Face Joe" is another character song, this time one that chugs along on a sweet boogie rhythm. The closing piece, "Spirit", is an extended funk-rock jam. A nod to Jimi Hendrix, it creates a live concert sound, complete with screaming crowd and fuzzy vocals. Junie made his name as the lead singer and keyboardist of the Ohio Players. As the mastermind behind "Pain", "Pleasure", "Ecstasy", and the oft-sampled "Funky Worm", he was beloved by countless musicians, not least Prince. As co-writer of some of Funkadelic's seminal works -- "One Nation Under A Groove", "(Not Just) Knee Deep" -- his standing as one of the structural fathers of funk is undisputed. In late 2016, Solange's A Seat At The Table featured a track called "Junie", a tribute to the freedom he created in music. In February 2017, Junie died, aged just 62. With records as mighty as Suzie Super Groupie, his legacy will live forever.


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Tech News Security
Meitu Goes Viral Despite Security Concerns
Dave Parrack January 20, 2017 20-01-2017 2 minutes
Meitu, a beautifying photo app from a Chinese company called Meitu, has gone viral. It's everywhere right now, and you may even have downloaded it yourself. However, Meitu asks for a lot of app permissions, and is collecting masses of data on its users. Which is worrying.
Occasionally, an app explodes in popularity, lurching from relative obscurity to worldwide acclaim. Think Flappy Bird, Prisma Prisma, the App of the Year, Just Got Even Better Prisma, the App of the Year, Just Got Even Better With its latest update on Android and iOS, Prisma is getting even better. And that's after both Google and Apple named Prisma the app of the year for 2016! Read More , and even Snapchat back in the day. The latest app to enjoy this fortunate fate is Meitu, which turns your selfies into "beautiful" anime characters.
The Problem With Meitu
The problem with Meitu is it's collecting way more data on its users than is necessary or normal. The permissions required to download and install Meitu are virtually neverending. And once you have given Meitu permission, the app will collect extensive data from your phone.
This allegedly includes, but isn't limited to, seeing what other apps you have running, and their unique device identifier numbers (IMSIs), your calendar, your contacts, your messages, your calls, your device's IMEI number, and whether or not you're running a jailbroken iPhone A Newbie's Guide to Jailbreaking [iPhone/iPod Touch/iPad] A Newbie's Guide to Jailbreaking [iPhone/iPod Touch/iPad] Read More .
It's important to remember that most free apps collect data on their users and then sell it onto advertisers. That is, after all, how they make money. However, Meitu appears to have gone further than most, seeking permission to collect far more data than can be deemed reasonable.
We don't yet know what Meitu is doing, or planning to do, with all that data it's collecting. But that's almost immaterial at this point. The very fact Meitu is collecting so much data, and that users are happy to allow it to do so, is the real worry.
There's Money In Them Thar Apps
Despite its new-found fame in the West, Meitu is already massively popular in Asia, and has been for years. The company behind it, also called Meitu, has a whole roster of apps available. Which is why it was valued at $4.6 billion when it IPO'd in Hong Kong in December 2016. Which just shows how much value there is in all that lovely data users willingly leak 6 Surprising Ways Your Data Is Being Collected 6 Surprising Ways Your Data Is Being Collected You know that your data is being collected, mainly by your ISP and the surveillance apparatus of the NSA and GCHQ. But who else is mining cash out of your privacy? Read More .
For those who want to check this app out for themselves, Meitu is available to download now on Android and on iOS [No longer available]. And a Meitu spokesperson has issued a statement to CNET suggesting that this is all an overblown storm in a China-shaped teacup.
Have you already installed Meitu? Did you take any notice of the app permissions? Are you at all bothered by the amount of data Meitu is collecting? Will this information stop you from using Meitu in the future? Please let us know in the comments below!
Explore more about: Online Privacy, Online Security, Photo Sharing.
You Can Now Download the Chromium-Based Microsoft EdgeWhy the Samsung Galaxy Note 7 Keeps Exploding
Dave Parrack 2455 articles
Dave Parrack is a British writer with a fascination for all things tech. With over 10 years experience writing for online publications, he's now a Deputy Editor at MakeUseOf.
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redpajama_set_name: RedPajamaCommonCrawl


One day an expert was speaking to a group of business students and, to drive home a point, used an illustration I'm sure those students will never forget. After I share it with you, you'll never forget it either.
As this man stood in front of the group of high-powered over-achievers he said, "Okay, time for a quiz." Then he pulled out a one-gallon, wide-mouthed mason jar and set it on a table in front of him. Then he produced about a dozen fist-sized rocks and carefully placed them, one at a time, into the jar.
When the jar was filled to the top and no more rocks would fit inside, he asked, "Is this jar full?" Everyone in the class said, "Yes." Then he said, "Really?" He reached under the table and pulled out a bucket of gravel. Then he dumped some gravel in and shook the jar causing pieces of gravel to work themselves down into the spaces between the big rocks.
Then he smiled and asked the group once more, "Is the jar full?" By this time the class was onto him. "Probably not," one of them answered. "Good!" he replied. And he reached under the table and brought out a bucket of sand. He started dumping the sand in and it went into all the spaces left between the rocks and the gravel. Once more he asked the question, "Is this jar full?"
"No!" the class shouted. Once again he said, "Good!" Then he grabbed a pitcher of water and began to pour it in until the jar was filled to the brim. Then he looked up at the class and asked, "What is the point of this illustration?"
One eager beaver raised his hand and said, "The point is, no matter how full your schedule is, if you try really hard, you can always fit some more things into it! "
"No," the speaker replied, "that's not the point. The truth this illustration teaches us is: If you don't put the big rocks in first, you'll never get them in at all."
Download this document and list your Rocks, Pebbles, and Sand. Post it where you can see it each day. Feel free to download one for work and one for your personal life.


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Absolute Racing reveals Porsche line-ups for Blancpain GT World Challenge Asia
April 2, 2019 Blancpain GT Asia Posted by Absolute Racing Leave your thoughts
Dennis Olsen joins Yuan Bo for the season-opener
Philip Hamprecht and Tanart Sathienthirakul form a strong line-up
Team Director Fabien Fior sets high expectations for the season
The Absolute Racing have revealed that Philip Hamprecht, Tanart Sathienthirakul and Dennis Olsen will join the team in the 2019 Blancpain GT World Challenge Asia, that kicks off this weekend at the 5.543km FIA Grade 1 Sepang International Circuit.
Absolute Racing will field three 2019-model Porsche 911 GT3 R with Philip Hamprecht and Tanart Sathienthirakul sharing driving duties in the #911 Porsche 911 GT3 R and Porsche Young Professional Dennis Olsen joining Yuan Bo in the #912 sister car. The team has previously announced Vutthikorn Inthraphuvasak and Alexandre Imperatori will share the driving duties in the #918 Panther / AAS Motorsport Porsche 911 GT3-R entry.
Two of Absolute Racing's Porsche Carrera Cup Asia frontrunners, Philip Hamprecht and Tanart Sathienthirakul, have joined forces for a campaign in this year's Blancpain GT World Challenge Asia, aboard one of the Chinese squad's gorgeous new Porsche 911 GT3-Rs. For both drivers, this will be their first full season programme in the Blancpain Asia series. Hamprecht has been with the team since 2016, wrapping up the Formula Masters China title on his debut in the category, stepping up to Porsche Carrera Cup Asia with Absolute Racing-run Team StarChase the year after, finishing runner-up in 2018. Thailand's Tanart Sathienthirakul is a Porsche Carrera Cup Asia podium-finisher and Thailand Super Series rising star.
Joining Yuan Bo on the Pro-Am Class assault this weekend will be Porsche Young Professional driver Dennis Olsen, from Norway. Olsen has previously been a race winner for Porsche in the European Le Mans Series, and has competed for Porsche in the Intercontinental GT Challenge, having won the 12 Hours of Bathurst in February. The 22-year-old Olsen, a Gold-rated driver, is no newcomer to Absolute Racing, having secured a second place finish in the 2015 Formula Masters China Race 12 on the streets of Kuala Lumpur.
Founded at the end of 2009, Absolute Racing is one of the powerhouses of GT racing teams in Asia. Among its accolades with Porsche, are two podium finishes in the Macau Grand Prix's Macau GT Cup race and three Porsche Carrera Cup Asia titles and more than 40 wins.
With three strong line-ups for Absolute Racing's 2019 season, it demonstrates the Chinese team's intention to challenge for both the drivers' and team championship titles.
Commenting about the season ahead, Fabien Fior said: "I believe we have strong line ups in both cars and I can't wait to see what we can achieve. Having Philip and Tanart together as drivers should prove to be a real dynamic pairing, with the mix of Porsche experience and young talent that they bring to the series. Yuan Bo is a fast Gentleman Driver and he will learn a lot from the Porsche factory drivers over the season. We have covered a lot of miles in testing with both our Porsche and I'm pleased to see the team working together so well. I have a strong feeling they will be challenging for victories from round one."
The event comprises of three practice sessions on Friday and Saturday morning prior to two brief 15 minute qualifying time trial on Saturday lunchtime to set grid positions. The first 60-minute race is scheduled to begin at 4.15pm later that day and the second race will happen on Sunday at 10.50am.
BlancpainGTAsia, PorscheTeam


All resources that you do not fully contol may give you issues. Webfonts are often the most obvious ones here. Google made it very easy and cheap to use their webfonts, but they have a short lifespan, as Google wants you to use the most recent version of their font-files all the time. The only real option to get around this is to use local fonts, hosted from your own site or CDN. You have to use @fontface embedding then, or you can even base-encode them, and use them straight from your CSS files. For me, the default font that came with the Rockettheme template is a local font (Muli), so I did not have to fix this.
Another solution that I have also used and that seems to work is this one: http://thejunkland.com/blog/fixing-last-point-on-google-pagespeed-insights.html.


Thank you all for joining us for the 24th Annual Esperanza Baseball GOLF TOURNAMENT at the Yorba Linda Country Club.
This major event has raised money for supplies, resources, and much needed improvements to the EHS baseball complex. Your continued support to fund-raising projects, such as this Golf Tournament, is essential to the continued success of this program.
The Boosters and the Baseball Team thank you for your continued support.


Religious pilgrimages are usually Journeys that are taken by people who believe in a certain faith to certain locations that are usually connected to that faith and the anonymous important points of reflection and their usually connected to the source of the faith that person has. People usually go for religious Journeys at any time or according to the time that is planned by this religion for example, the Muslims usually go for religious pilgrimages to Mecca at certain times of the year while other religions like Christians, are able to go for religious Journeys at any time that they want. There are some locations in the world that are usually very famous for these kinds of journeys and different religions usually have different places that they go to for example, Muslims usually go to Mecca for the religious Journeys while Christians have been known to go to the Vatican and also Israel for the religious Journeys. You can benefit a lot from going for religious Journeys or pilgrimages as shall be discussed in this article and at the end, you'll be motivated to go for a religious journey for you to be able to get the benefits of going for these journeys.
One of the ways that a person can really grow in their faith is if they have time to think about what they believe in, and this can easily be done through meditation and reflection which is something that can easily be done when a person goes for religious journey or religious pilgrimage. Going for religious pilgrimages usually offers a person the chance to think about their religion and they may even be able to get answers to all the questions that they usually have regarding their faith and in the end they will have the faith strengthened so much such that they will not have any doubts anymore.
Another benefit of going for religious Journeys is that it is a time that you be able to enjoy since most of these journeys are usually an adventure because you're going to places that you would never been before and therefore you get to see places and attractions that have never witnessed before meaning that it is going to be a lot of fun for you. A great benefit of going for religious Journeys is that you'd be able to create very great connections that you can benefit from even in the future and this is another reason why these pilgrimages are usually very important.


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Lieken to close bakery in Germany
By Dean Best | 12 November 2014
Lieken was sold to Czech group Agrofert last year
Lieken, the German bakery group, is to close a factory in Essen as it pushes on with restructuring its business.
The company, which pasta giant Barilla sold to Czech food maker Agrofert last year, does not meet "contemporary and future market requirements". Around 200 staff reportedly work at the plant.
"Lieken is currently undergoing a large reorganisation process. We are investing in the future of our company with a three-digit million amount. In the course of the reorganization process we have to take a close look at our factories. A detailed analysis has shown that the factory in Essen does no longer correspond to the contemporary and future market requirements. Therefore, we decided to close the factory," the company told just-food.
Lieken said it could not provide a date for when the site will close. However, it added: "The whole reorganization process of our production should be finished within the next two to three years." The company is said to have 12 plants in Germany.
Lieken, which generates annual sales of over EUR700m (US$873.5m), owns the Golden Toast and Lieken Urkorn brands. It also supplies private-label products to retailers.
South African seafood firms get green light for Russia export
Pinnacle Foods Q3 earnings rise
Sectors: Bakery


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2012 NBA Free Agency: Conflicting Reports On Cleveland Cavaliers' Interest In Ersan Ilyasova
By Foster Lander Jul 8, 2012, 9:06am CDT
Share All sharing options for: 2012 NBA Free Agency: Conflicting Reports On Cleveland Cavaliers' Interest In Ersan Ilyasova
Milwaukee Bucks forward Ersan Ilyasova's agent says the 25-year-old could visit the Cleveland Cavaliers this week, according to the News-Herald's Bob Finnan.
However, the Plain-Dealer's Mary Schmitt Boyer says there's no interest between Ilyasova and the Cavaliers:
An NBA source with knowledge of the situation refutes Internet reports that the Cavs are interested in free agent forward Ersan Ilyasova, who played with the Milwaukee Bucks the past four seasons after the Bucks made him a second-round pick in 2005.
Ilyasova stands 6 feet 10 and has developed into a knockdown three-point shooter (45.5 percent last season). He put up 13 points per game and 8.8 rebounds in just under 28 minutes per game last season with Milwaukee.
Finnan cites other media reports that say the Bucks offered Ilyasova a five-year, $40 million deal.
The Cavs have been patient in free agency thus far and have not overpaid for a mediocre player. Ilyasova is a promising young player but Cleveland may prefer to go with the young core they have now and save that cap space to go after a bigger fish down the road.
For more on the Cleveland Cavaliers, head over to Fear The Sword, and check out SBNation's NBA Page for all NBA news and analysis.
NBA Free Agency: Alonzo Gee Re-signs With Cavaliers
Alonzo Gee's Contract Details Emerge
NBA Free Agency: Cavaliers Reportedly In The Mix For Derek Fisher


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Virtual Reality Finnish Disruptive Innovation transforms Maritime Safety Training and Education – All About Shipping
30 Oct Virtual Reality Finnish Disruptive Innovation transforms Maritime Safety Training and Education – All About Shipping
Posted at 08:15h in Dr-Evangelos Markopoulos	by	adminstage
Virtual Reality Finnish Disruptive Innovation transforms Maritime Safety Training and Education.
Allaboutshipping.co uk was invited on October 29, 2019 to attend a presentation of the MarSEVR (Maritime Safety Education with Virtual Reality) in London at the premises of LOMAR, a global and leading maritime company – see our mentioning in our last night's recap.
As shipping evolves in a new era, advanced but simple educational instruments and programmes is a must to enhance maritime safety and the protection of crew, ships, cargoes and the environment all over Planet Ocean. Maritime Education and Training is the A to Z in modern shipping and shipping companies, particularly shipmanagement groups but also regulators must adopt same as part of the ISM – International Safety Management, ISPS – The International Ship and Port Facility Security Code and STCW – The International Convention on Standards of Training, Certification and Watchkeeping for Seafarers. Above all, the Marine Insurance sector in its entirety will immensely benefit from this innovative technology and reduce the losses and damages by million of dollars; and that's what counts most!
The presentation demonstrated MarSEVR, a prototype of a maritime VR training technology which can be utilized to train both trainees and professionals, and was delivered by Professor Dr. Eng. Evangelos Markopoulos from HULT International Business School (U.K) and Fellow of the Turku University of Applied Sciences (TUAS) Research Group of Futuristic Interactive Technologies (Finland), by Associate Professor Dr. Eng. Mika Luimula and Director of the Turku Game Lab (Finland), and by Mr. Panagiotis (Panos) Markopoulos, Virtual Reality and Augmented Reality (VR/AR) Games Designer/Developer and Technical Artist from the University of Arts London (UAL).
Compared to traditional command bridge simulators, the MarSEVR developers had no limitations while designing the learning content. The technology adopts the same design principles as in the game industry to implement, immersive training scenarios that assure the engagement of the user to understand the right decision making factors in a gamified environment.
The technology has been developed tov handle unlimited maritime safety applications and scenarios. The goal of the first training application presented was to practice situation awareness and decision making by replicating a ship bridge environment and then by creating different training scenarios with different difficulty levels. The specific MarSEVR application focuses on watch change between two navigation officers on a cargo ships bridge and on events happening after the watch change. The object is to train the user's readiness to plan and execute navigational obligations, collision avoidance, be observant of equipment status and settings and to take actions and catching errors early before they get out of control.
Compared to the traditional simulator the MarSEVR objectives are to bring the training method to the ship and offer the pedagogical supports and learning analytics in form of instant feedback. This gives opportunity to practice anytime and anywhere. The learning goals of training are the understanding the instructions, the use and checkup of the main technologies, and a solid base of visual route and traffic information for the safe navigation. The training experience must be realistic, especially on touch-feel side. The virtual training replicates the real-life situation authentically.
In the first demonstration version of MarSEVR, all behavioral data are stored locally and are anonymous. At a later stage a backend system will be build including learning analytics and dashboard services for administrators in order to detect possible challenges in safety issues. MarSEVR intends to integrate data analytics and machine learning technologies that will evolve the existing it into a gamified Artificial Intelligence VR training technology on maritime safety.
MarSEVR allows VR training in diverse areas to train amateur but also qualified and certified personnel. The trainee practices with virtually digital equipment that incorporate the same features of the real operations environments, machines and tools. MarSEVR is fully parametrical allowing the users to change functional (technical, operational, etc) and nonfunctional (temperatures, weather, etc) conditions and requirements. on regular or emergency situations.
MarSEVR research is led by Professor Dr. Eng. Evangelos Markopoulos from Turku University of Applied Sciences (TUAS) and Assoc Prof. Dr. Eng. Mika Luimula (TUAS) and supported by Mrs Jenny Lauronen and Mrs Pihla Lehto from Aboa Mare, a Maritime Academy at Novia University of Applied Sciences, Mr. Panagiotis (Panos) Markopoulos from the University of Arts London (UAL), and Mr. Sami Laukkanen (TUAS).
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Library and Genealogy
About Hanna's Town
Partners in History
Tea Through the Centuries
Education | Videos
While in-person teas are on hiatus this year, we are happy to share the fascinating history of this delicious drink in a new video! Grab a cup and join Louise, Joanna, and Pam as they explore the history of tea through the 18th, 19th, and 20th centuries. Discover the ancient...
Call for Contributors to Westmoreland History Magazine
News | Westmoreland History
Submissions are open for our magazine, Westmoreland History, the premier publication for sharing the history of Westmoreland County. We are seeking articles for all aspects of Westmoreland County's history, from pre-European settlement through the later part of the 20th century. Articles should contain well researched and documented material, source citations,...
2020 Monarch Migration Celebration
Education | Historic Hanna's Town
Historic Hanna's Town, a member of the Westmoreland Pollinator Partners, is proud to participate in the Penn State Master Gardeners of Westmoreland County's 2020 Monarch Migration Celebration! This seven-week long, family-friendly virtual event includes access to education posts, activities, videos, and crafts via a Private Facebook event group; geocaching sites...
Eagle Scout Projects at Historic Hanna's Town
Behind-the-Scenes | Gardens and Grounds | Historic Hanna's Town | Videos
We have recently been working with Scout Troop 405 to complete Eagle Scout projects at Historic Hanna's Town. These projects are helping restore the historic environment by planting native plants and addressing several environmental issues at the site and creating new educational and recreational opportunities for visitors. As former...
"The People of this Place Behaved Brave" The Burning of Hanna's Town
Education | Historic Hanna's Town | Videos
At 2:00 p.m. on July 13, 1782, a group of Seneca and their British allies attacked Hanna's Town, the seat of government for Westmoreland County. But what were the events that led to one of the most devastating attacks on the Pennsylvania frontier at the end of the Revolutionary War?...
Reopening our Facilities – June 2020
The Westmoreland Historical Society is pleased to share that its facilities are reopening to the public. The Westmoreland History Education Center is opening Friday, June 5. Regular hours for the Education Center are as follows: Wednesdays-Saturdays, 10:30 a.m. – 4:30 p.m. Sundays 12:30 – 4:30 p.m. Facilities include the research library, museum shop, and...
Storytime: John Newbery and the Birth of Children's Books
Activities and Lesson Plans | Education | Videos
Enjoy our ninth virtual Pages of History Storytime program! This week, we are featuring Balderdash: John Newbery and the Boisterous Birth of Children's Books by Michelle Markel and illustrated by Nancy Carpenter. While most children's books in the 18th century contained lessons and rules, John Newbery imagined them overflowing with entertaining stories, science, and...
Storytime: Because of an Acorn
Enjoy our eighth virtual Pages of History Storytime program! This week, we are featuring Because of an Acorn by Lola M. Schaefer and Adam Schaefer and illustrated by Frann Preston-Gannon. Read with permission from Chronicle Books. In this story, wander down the forest path to learn how every tree, flower,...
Westmoreland County Medal of Honor Recipients
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On this Memorial Day weekend, we honor the deceased who have influenced our life, especially those who served in the military.The Medal of Honor is the highest and most prestigious military award in the United States. Since beginning in 1863 during the Civil War, thousands of military service members have been...
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New: Taoiseach says NPHET has recommended restrictions to hospitality before the end of the year
The Health Minister has described the current situation as "precarious" and said that he had a "long and sobering" discussion with Chief Medical Officer Dr. Tony Holohan today
The Taoiseach has said this evening that the relaxing of restrictions until the 6th of January is now under threat.
Speaking on RTE's Six One, Michael Martin warned that the National Public Health Emergency Team has recommended to Government that the rise in cases of the virus means that the period of relaxed restrictions may now be shortened to the end of the year.
This evening it was confirmed that there are 484 new cases of Covid-19 and a further 3 people have died. The latest breakdown shows 150 cases in Dublin, 45 in Wexford, 40 in Cork, 32 cases in Donegal, and 29 in Limerick.
There have now been 2,143 deaths in Ireland linked with Covid-19, along with 77,678 cases of the virus.
At the Department of Health press conference today, it was also revealed that there have been 30 new admissions into the country's hospitals in the past 24 hours alone.
Chief Medical Officer, Dr. Tony Holohan said tonight that "the virus is moving quickly throughout the country, in all age groups."
The Taoiseach says that NPHET will be recommending restrictions to hospitality before December 31st "so concerned are they in relation the rising numbers, and also restricting household visits to one before the end of the year, that's one household could visit another.
He also pointed out that "the anticipated period of going from tomorrow to the 6th of January would be shortened." The government is expected to take the recommendation "very seriously" and will be in a position to make a decision when it meets on Tuesday.
The news comes after a confirmation that referrals for tests are up and GPs have reported an increase in the number of people presenting with flu-like symptoms.
The number of contacts per person testing positive has also jumped from 2.8 to 3.6
Image via RTE.ie
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What do Facebook, ATT and IBM have in common aside from being household names? They all use blue as the primary color in their logos. Now think about other companies with blue logos. It's a long list, right?
Blue logos might seem as ubiquitous as the blue sky and there is good reason for this: research shows that the color blue conveys dependability, trustworthiness and maturity. From established corporations to fledgling startups, companies use blue as the primary color in their logo to show perspective and current customers their level of competence.
Of course, anyone who tells you unequivocally that blue=dependable and yellow=cheerful has a pretty simplistic understanding of color. There are many diverse ways that blue logos can make an impact.
Cars, appliances, airplanes and computers are all machines that we rely on daily. Dependability is an important trait to consumers of these products. GM, GE, Ford and Boeing—companies that have been around for more than 100 years—convey the reliability of their products through their logos. Dell and Intel are both young when compared to those four, but pretty old when it comes to tech. Both ensure they are associated with reliability with their blue logos.
Consumers provide sensitive data to banks, credit cards and healthcare providers. Trustworthiness is imperative in these industries. A sense of trust is communicated by the blue logos used by many companies providing these services and many others. Bank of America also utilizes red in their logo. The addition of the second color adds a modern touch and helps associate the logo with the American flag.
Some color associations come from nature. What's blue in this world? The sky on a sunny day. The gently rolling ocean. Blueberries. Feeling relaxed yet? (Or maybe just hungry?)The color blue can have a calming effect on viewers.
Now think about dental care. Not feeling as relaxed, are you? Going to the dentist is something we should all do, but often makes people pretty nervous. If you're in a business with a bad rap, help assuage customer fears with a blue logo's subliminal calming effect.
These companies take advantage of many of the desirable traits of blue logos and incorporate modern designs. SoFi brands itself as a "modern finance company" and therefore wants to convey the trust, dependability and professionalism associated with blue. But it also utilizes a lighter shade and more abstract logo design to stay fresh and new. Software company openly appeals to start-ups and enterprises with the maturity of blue and the freshness of a lower-case, sans-serif typeface.
Just because a company wants to convey seriousness and dependability with the color blue doesn't mean their logo has to look super serious and adult-y. A youthful spirit is achieved in these three blue logos through their use of lowercase letters, softer, rounder typefaces and an adorable mascot. All three companies are serious about what they do but also want to hip and interesting.
Why else might you choose blue for your logo? Maybe you want customers to associate you with the ocean. Maybe the word "blue" is a prominent part of your company's name.
Choosing blue will put in you in pretty great company. And let customers know you're dependable (which is almost never a bad thing). The one thing to be thoughtful of when choosing blue is that it is used a lot. How are you going to make your blue logo stand out from the sea of competitors? If you're clever with your font, specific with your hue and thoughtful with your imagery you can make sure when you get the blues it will only be the good kind.


 How Much Does Downtime Really Cost?
How Much Does Downtime Really Cost?
The term "disaster recovery planning" is unfairly misleading. Because of the inclusion of the word "disaster," the phrase tends to invoke imagery that is tied to events of epic proportion – things like, hurricanes, floods and earthquakes.
However, in the IT landscape, disasters are defined with a little more subtlety. Small scale events like power interruptions, downed phone lines, or really any event where there is a momentarily loss in data are lumped into the disaster category. And while these disasters may not invoke the same type of ominous imagery, they can carry with them equally financially devastating consequences.
Consider this: industry statistics estimate that medium sized businesses, ranging from 100 to 1000 employees, are losing an average of 1% of their revenue every year due to downtime. This adds up to somewhere in the neighborhood of 140 hours of downtime and $867,000 in lost revenue.
While this number may seem large – when you start adding up the myriad of ways that downtime can affect your company, it's actually surprising that it is not larger.
And remember, these are just small interruptions to data. If your company is ever faced by a larger scale disaster, your chances of loss are greater, and your chances of recovery are much lower – with some studies indicating that 40 percent of companies suffering from a major disruption go out of business within two years.
The solution is to plan for this downtime and prevent it from interrupting your business, And this is where Expedient can help. Contact us today to learn more about our business continuity and disaster recovery solutions.


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Q: Duplicating existing polygons based upon number in attribute field using ArcPy gives AttributeError? We are working with parcel data that includes a single polygon for each individual tax parcel. We need to develop a list that includes an attribute for each residential address. Some tax parcels could have multiple residential addresses, e.g. condos, apartments, etc. Although this could be done in a spreadsheet, it would likely be time consuming. The though is to copy each polygon x number of times dependent on the number of units in order to begin this list, this would allow for all the attribute data to be copied as well. In researching a way to do this is we came across Exploding features based on numerical field in QGIS?. I provides a Python script and minimal directions to run the script.The script is as follows:
layer.startEditing()
for f in layer.getFeatures():
    # Create X-1 new features since we already have the original
    for i in range(f['X']-1):
        layer.addFeature(f)
layer.commitChanges()

I am actually trying to replicate this in ArcGIS. I have translated this to the following:
import arcpy
mxd = arcpy.mapping.MapDocument(r"G:\LUCA_2020\WorkingMap_4.19.mxd")
df = arcpy.mapping.ListDataFrames(mxd, "Layers")[0]
lyr = arcpy.mapping.ListLayers(mxd, "newburgh_city_parcels_master_april2012_joinRPS", df)[0]
lyrfile = arcpy.mapping.layer(r"G:\GIS_Chad\Scratch\Delete\test.lyr")
arcpy.mapping.UpdateLayer(df, lyr, lyrfile, True)
layer.startEditing('newburgh_city_parcels_master_april2012_joinRPS')
for f in layer.getFeatures('total_units'):
    # Create X-1 new features since we already have the original
    for i in range(f['X']-1):
        layer.addFeature(f)
layer.commitChanges('newburgh_city_parcels_master_april2012_joinRPS')

When I run the script in the Python window, i get the following error:
Runtime error
Traceback (most recent call last):
  File "<string>", line 5, in <module>
AttributeError: 'module' object has no attribute 'layer'

I assume there may be other, put I am not sure. I am looking for guidance on correcting and running the script in ArcGIS 10.3.

A: I haven't yet found a tool that does precisely what you need (duplicating items within the same feature class). Arcpy uses SearchCursors and UpdateCursors to parse through and update a list of records, but a more generic approach may be to duplicate the records the specified amount of times then merge together all of the files, since you need all of the fields to be copied over.
# 1. access the layer
# Import system modules
import arcpy
# Set the workspace
env.workspace = "c:/data/mexico.gdb"
# Make a layer from the feature class
arcpy.MakeFeatureLayer_management("cities", "lyr")

# 2. create a list of possible values in your polygon copy field
# 2a. You can do this manually as below, or select it from unique values in the field
numrepeats = [0,1,2,3,4,5]

# 3. loop through all of the values. Select by attributes for each value.
for i in numrepeats:
    sqlquery = '"repeatfieldname" = %d' % i
    # Select all cities with the specified value
    arcpy.SelectLayerByAttribute_management("lyr", "NEW_SELECTION", sqlquery)
# 4. Use CopyFeatures to copy to a new file. Repeat the number of times specified.
    n = 1
    while n < i:
        outFeatureClass = "polgyoncopy{}".format(n)
        arcpy.CopyFeatures_management("lyr", outFeatureClass)
        n += 1 #increment n

# 5. After all values have been processed, merge the resulting files

References mentioned in codeblock:

*

*Unique Values code from @Aaron

*Select by Attributes

*CopyFeatures

*Merge

*InsertCursor

A: I love the idea to use multipart shape that can be exploded afterwards.
The workflow below creates multipoint point shape in order to reduce the size of output feature class:
arcpy.AddGeometryAttributes_management("Export_Output", "CENTROID_INSIDE")
arcpy.MakeXYEventLayer_management("Export_Output", "INSIDE_X","INSIDE_Y", "Export_Output_Layer")
arcpy.Dissolve_management("Export_Output_Layer", "../m_point.shp", "Label", statistics_fields="N FIRST;INSIDE_X FIRST;INSIDE_Y FIRST", multi_part="MULTI_PART")

Use field calculator expression on field Shape:
from math import sin, cos
def multiplyMe(n,xC,yC):
 angle,array=3.141593*2/n,arcpy.Array()
 for i in range(n):
   X=xC+50*cos(angle*i);Y=yC+50*sin(angle*i)
   array.add(arcpy.Point(X,Y))
 mPoint=arcpy.Multipoint(array)
 return mPoint
#-------------
multiplyMe( !FIRST_N!, !FIRST_INSI!, !FIRST_IN_1!)

INPUT:

OUTPUT:

To create initial table for the relate simply join parent polygon table to multipoint table, export it and use multipart to single part tool.

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