Today is #Rush #2112 Day... GET IT?!
The Dynamics started not as a cosmic collision between shiny stars of music, but probably like most bands, between friends. Between parties, cafes, they met and started talking about music. Some would do a radio show, while others sang in groups already, and some would be in Lyon, France for completely other reasons. Despite the huge differences (culture, language, etc), they shared some fun times, and some sparkly jams at parties, and became tight friends.
The real genesis of the group happened at the ‘Funk in the Forest’, a free (kind of) party/festival that some common friends had organized in ‘Forest of the Black Stable » (Noirétable) in middle France. They had some bands come down from England to play, and Mr Flabmasta, from Boston, was running the live system for the groups (which incidentally was destroyed that weekend). Steve Levi from Bristol, was MC for the festival. Bruno “Patchworks”Hovart (Paris) was spinning some tunes one night, and on one simple dub skank, Levi was getting the crowd going, doing some verses. He was joined by Mr Day, who belted out the lyrics to Dylan’s ‘Lay lady Lay’ on top of the chords, joined at the end by Mounam with an African vocal fresstyle that knocked everyone out. Flab, who was running the PA, started playing with guitar effects like delays, fuzz, reverb with the sound from the mixing table, and the microphones. Voila, The Dynamics first gig. Very rough, very raw, but enormous, at least that night.
After that, slowly over the next year, they decided to actually do something with this, so a series of singles were released, covers of songs that they liked, in a sound they all adored, rocksteady soul dub: the very successful debut 7inches (Big Single Rec) of their covers from classics “Move On Up” by Curtis Mayfield and “Seven Nation Army” by The White Stripes. They recorded the songs quickly with quite primitive home studio gear, but they caught the ear of DJ’s. They started playing at local bars, student parties. They got on the big stage quickly on a fluke in 2004, playing on the roof of the Cannes Palais de Festival, sharing the stage with High Tone, Soulwax, Arrested Development, and Stereolab.
Quite quickly emails started pouring in from all over the world from people looking for their vinyls because they heard it at such-and-such party. Organizers asking for them to come play at festivals, clubs, etc… Friends would come back from overseas and say ‘hey man, I heard your song at a bar in Dublin! ». With that momentum, they finally released a first LP, « Version Excursions” (Big Single/GrooveAttack/2007), made of stunning covers produced by Bruno “Patchworks” Hovart (Mr President, Mr Day, Uptown Funk Empire,…), and rapidly reached a very wide audience way beyond the reggae scene.
Following “Version Excursions” (20.000 copies sold), the Dynamics’ Sound-System spent 2 and a half years touring. The live show was perfect at the time for playing and traveling. They once tried getting sponsored by a low-cost airline they took all the time, because they could fit all the gear in carry-on. The company refused. The ultimate low cost dub sound system. Exemplified by one gig on the mainstage of the Sudwest Festival in Portugal, playing directly AFTER the Chemical Brothers and Goldfrapp. (!?!) As the CBro’s decended the stage with 3 truck trailers of equipment, the Dynamics climbed on with a laptop, analog synth, and a bag full of 20 year old guitar stompboxes.
This portability allowed the group to play in many many places, which was a dream come true. Hungary, Turkey, Japan, Poland. Small tiny intimate clubs in Bratislava, Dresden, Berlin, Hamamatsu. Completely surprising parties in Stockholm, London, Vienna, Madrid, Sofia, Athens, and Istanbul. Famous international festivals such as Glastonbury & Lovebox (UK), Reggae Sun Ska & Garorock (FR), Fringe Festival (IRE), Debaser (SE), Sudwest (PT), Popkomm (DE),Path of Peath (IT) and many more…. Media-covered shows in Paris, Tokyo, Warsaw and Italy and stage shared with famous artists such as Peuple de l’Herbe, Toots & the Maytals, Lady Gaga, Pete Doherty, Caravan Palace, Snowboy or Talvin Singh to name just a few. But most unforgettable are the handful of amazing characters they met on the road, and some of the backstage jams after their shows. If you meet them, ask them to tell you about one.
However, it was not all rosy. Touring so much is hard on the other aspects of life, and the group had been on the road so much that they hadn’t time to record new songs, and a difference in needs and objectives led to one of the members leaving the group. They needed to take some time to re-evaluate the direction of the group. They all loved music, and wanted to continue, but wanted to release their own proper songs, to move way from being a ‘cover band’ (Although few consider them as such, because of the complete transformation and reworking of the original songs.)
So after 3 years of non-stop touring the group took a hiatus, and decided to explore different directions. The album is unique because it is essentially the work of many: 4 different producers, 4 different studios, but one team. This allowed them to try things that were not possible for the first… Massive horns, big sound, full bass, sound-bending, open space.
The group is really excited for the release of this disc, because it is full of songs that they have been working on live that will finally be available. Of course, like everyone, they are aware of the dismal state of the music industry. But they are optimistic because playing live is one of the only ways to sell discs, and they love playing live!! 3 singers (Levi, Day, Mounam) machines (Flab) and the Dub Libertines (Raph-bass, Chris-drums). Today, The Dynamics present their 2nd long-player called “180 000 Miles & Counting”. Without Patchworks, their longtime friend and original member, they brilliantly provide an album which can be described as more personal, adventurous, varied, loyal to their love of Soul, Reggae, and Dub… all the while toying with Afro-beat and Zydeco.
From « Shibuya Crossing« , evoking their time in Japan, to other titles like « Do the Dance« , « Downtown Barking« , or « International Soul » paying homage to the characters met during and after their numerous concerts, most of the album has been naturally written as the travel book of their great live adventures. « Bring Me Up« , « Show Me« , and « I Know She Cares » bear witness to more intimate stories of lovers accepting the consequences… And in this morose economic climate, they poke fun at human behavior faced with the power of greed with the cover of the O’Jays’ classic, ‘Money« .
With this rich and genuine sophomore effort, The Dynamics are ready to continue their journey, and share with the public their new live show. “180.000 Miles & Counting” will be released by Favorite Recordings in September… Stay tuned!!
Fitz & the Tantrums, doing their song MoneyGrabber off the album Pickin' Up the Pieces in the Grooveshark mobile recording studio at SXSW 2011.
The Electronic Frontier Foundation (EFF) has been a feared and respected enemy of the RIAA for years. But unlike the RIAA, the EFF is unafraid to take on heavyweights. On Friday morning, EFF attorney Julie Samuels launched a salvo against Google, demanding more 'transparency and inclusiveness' in its dealings with Grooveshark, while crticizing the search giant for inconsistent statements. That creates a critically-important ally for Grooveshark, who earlier promised a fight in Congress and in the courts. Welcome to round two, here's the statement:
The vast open landscape for users, developers, and industry that Google announced with the release of Android has been growing narrower and more opaque. When the service launched, Google made much of Android’s transparency and inclusiveness, which it said would enable innovation lacking in the mobile space. And Google has pointed fingers at Apple for its draconian, closed ways.
But who's being draconian now? Earlier this month, Google removed Grooveshark's popular app from the Android Market
for violation of the Android terms of service, later informing Grooveshark that the removal was related to a "complaint from the RIAA" but nevertheless refusing to provide an actual legal or policy basis for the takedown.
In the limited marketplace for mobile apps, exclusion from one of the primary storefronts is a serious blow to a business that hopes to compete. And because Google won't say why Grooveshark's app allegedly violated its terms and conditions, Grooveshark has no opportunity to try to cure.
It's hard to not speculate about what happened. We can only assume that a complaint from the RIAA would be based in copyright. That Google would perform a copyright takedown without requiring a valid notice under the Digital Millennium Copyright Act is surprising to say the least — especially given that Google just last week filed its reply brief in the Viacom v. YouTube appeal vigorously defending its policy of responding only to valid DMCA notices where copyright complaints are concerned. (Separately, we question whether there's a theory of copyright law under which Google would be liable in the first place, given that Google merely stores the code for another service provider's app — code that we seriously doubt is itself infringing or otherwise illegal and which isn't even executable on the Android Market platform.)
And if the RIAA's complaint was not one under the DMCA, we – and others – are left to wonder: Did Google take down the Grooveshark app because it will compete with Google's rumored soon-to-be-released cloud music service? Did Google's takedown intentionally coincide with its appearance before the House Judiciary Subcommittee on IP in an effort to make itself more sympathetic to Congress? Is Google simply letting itself be controlled by the whims of the RIAA and the larger content industry as a whole?
We'd like to believe that none of these is the case, yet Google's failure to provide a concrete explanation leaves us guessing. And Google's larger failure to implement a policy that provides clear-cut rules and procedures for alerting app developers of their alleged violations of Google policy and giving them opportunities to cure runs counter to an environment of inclusiveness that
Google has long touted. Despite recent events, we continue to hope that Google will stand up for these principles and maintain an Android Market that is open and transparent.
Julie Samuels, Staff Attorney, Electronic Frontier Foundation. Reprinted with permission from eff.org.
The following is an open letter to the music industry from Grooveshark, shared exclusively with Digital Music News. The letter was prompted by the recent removal of the Grooveshark app from the Android Market, though it also addresses broader concerns and challenges.
On April 6, 2011, Grooveshark learned the hard way what happens to companies that fail to respond to misleading press created by their detractors and competitors. Google removed our app from the Android Marketplace at approximately 5pm PST on Friday April 1st at the request of the RIAA.
Google hasn't specified what it was in their "Terms of Service" that we allegedly violated, but there does appear to be some confusion about whether Grooveshark is a legal service. So let's set the record straight: there is nothing illegal about what Grooveshark offers to consumers.
Yet some are confused as to how we are legal. First, there is a distinction between legal and licensed. Laws come from Congress. Licenses come from businesses. Grooveshark is completely legal because we comply with the laws passed by Congress, but we are not licensed by every label (yet). We are a technology company, and we operate within the boundaries of the Digital Millennium Copyright Act of 1998 (DMCA). Some would have you believe that those of us who use the DMCA to innovate are inherently infringers and that claiming Safe Harbor under the DMCA is as good as admitting guilt. Not so.
The DMCA's Safe Harbor component encourages technology
companies to innovate in hopes that they will eventually solve some of the problems that are plaguing content producers today. The Safe Harbor provision reads like it was written specifically for YouTube and Grooveshark, and its necessity continues to be illustrated every day. If it weren't for this notion, many of the products and services that are now taking a bite out of piracy would never have been born.
With that said, Grooveshark doesn't just rely on the protection of the law. We have worldwide licensing from over a thousand labels — large and small. We pay the three major U.S. performing rights organizations, as well as some international bodies, and are actively pursuing agreements with those that we don't. We recently signed Merlin, which included the Merge catalog. This was a particularly happy day for us because it brought The Arcade Fire into the family. We pay for our streams, and we actively negotiate with virtually every single content owner. We've taken down over 1.76 million files and suspended upload privileges to 22,274 users. These are not the characteristics of a company "dedicated to copyright infringement". As we work with artists and labels to make more content available to our users, Grooveshark becomes more competitive as an alternative to piracy.
Content partners use Grooveshark to make targeted marketing spends, support tours and sales, and test singles and high-ticket merchandise with surveys and exclusive panels. The Grooveshark model puts us in a unique position as the only source for unadulterated consumption data from over twenty-five million unique monthly users in more than 150 countries. We are translated into 24 languages, which helps us monetize developing economies and deliver revenues to content owners from territories where extracting revenue formerly proved too difficult. Labels, managers, and artists that take advantage of our full gamut of services know how effectively Grooveshark's application can streamline expenses and generate revenue.
In light of the recent misleading press concerning Grooveshark's application, it is important to make clear that we will defend our service, and the letter and the spirit of the law, in court and in Congress. We will defend our name and our ideals for the sake of our users who expect modern delivery systems and comprehensive access across devices, for the sake of artists and content owners who fear another decade of decline, and for other innovators who continue to bring new ideas to market through the expression of creativity in the form of technology.
We ask that Google and Apple, embrace the spirit of competition
and do right by users in making our applications available to consumers immediately.
—Paul Geller, Grooveshark.com