In 2016, vinyl sales were reported to have been at a 28 year high by Fortune.com. They explain that amidst the creation of Record Store Day in 2008, the purchasing of actual vinyl records began to reemerge in pop culture. They state that so-called hipsters in their 20’s and 30’s were looking for a way to diversify their listening experience.
It is fantastic to see that their are an increasing number of vinyl enthusiasts out there growing their collections, supporting local record shops and keeping the vinyl industry alive. But for those of us whose records haven’t left the crates or shelves in years (because we long ago traded in our turntables for digital technology), how can we re-experience our vinyl collections at maximum quality with minimal effort? That is where Murfie comes in!
Using state of the art recording equipment we will clean and digitize all of your old vinyl and make it available for stream or download in the following formats: mp3, WAV, FLAC and ALAC complete with metadata. All you have to do is contact us to get a quote and we will send you the right kit for your needs.
For a detailed description of our vinyl services or to get an online quote, click here.
John Coltrane was booted from legendary jazz trumpeter Miles Davis’ band in the late 1950s due to his escalating alcohol and heroin addictions. A Love Supreme, recorded in 1964 and released the following year, found Coltrane, who plays tenor saxophone throughout, casting out his troubles and confessing a then-newfound devotion to God.
The album is broken up into four songs–“Acknowledgement,” “Resolution,” “Pursuance” and “Psalm”–over thirty-odd minutes, just a fraction of the time Coltrane’s quartet was used to performing. Rounded out by McCoy Tyner on piano, Elvin Jones on drums and Jimmy Garrison on bass, Coltrane here seems his most fluid and poised. His solos are compact–to the point and poignant; “A Love Supreme,” the album’s sometimes-sung-sometimes-played refrain, hits even harder.
A Love Supreme was a smash when it was first released, garnering two Grammy nominations and selling a slew of copies, and its stature has only grown since Coltrane’s death in 1967. It’s heralded as not only one of the greatest jazz albums of all time, but one of the best–period. Like a hug from a grandparent or your favorite mantra, its warmth and constancy seem (and may very well be) never-ending.
Steven Ellison–AKA Flying Lotus–is the grandnephew of jazz pianist Alice Coltrane and the aforementioned John Coltrane. Though he’s been making electronic-based music for a decade now, it wasn’t until Ellison’s last two releases that he began deliberately delving into jazz for his compositions.
I’m glad he did. Because although Flying Lotus’ music has always been stimulating, You’re Dead! takes his tunes to another level entirely. Throughout 19 tracks in a blistering 38 minutes, Ellison balances hip-hop and jazz influences in equal measure; rappers Kendrick Lamar and Snoop Dogg make appearances, as do pianist Herbie Hancock, saxophonist Kamasi Washington and bassist Stephen Bruner (AKA Thundercat).
You’re Dead! is both explosive and improvisational. Aside from the Kendrick-assisted “Never Catch Me,” most songs clock in under the three-minute mark and are solely instrumental. The disc runs from one playful-sounding idea to the next, bolstered by Lotus’ experimental flourishes and Thundercat’s tireless basslines. And though death may have inspired You’re Dead!, this record is brimming with life.
Yes, Astral Weeks is a jazz album. It was recorded over three sessions in late 1968, during which Van Morrison let his accompanying musicians play whatever they felt over his songs; and those musicians–flautist John Payne, guitarist Jay Berliner, bassist Richard Davis, drummer Connie Kay and percussionist Warren Smith Jr.–all happened to be accomplished jazz artists.
The eight songs that comprise Astral Weeks move on their own time. Van Morrison’s delivery is leisurely and not to be bothered, almost as if he’s dreaming up syllables seconds before he sings them. There were no rehearsals before the crew began recording, and some tracks are borderline messy. However, it’s that messiness that allows the album to emit love and pain and all the other basic emotions in such a raw, base, human way.
There’s a big part of me that thinks Astral Weeks is a really, really doofy record. But there’s a bigger part of me that loves hearing Davis pluck that first bassline on the title track–that loves knowing I’m about to get lost in Van Morrison’s surreal, harmonious vision for the next hour.
Is This Itwas one of the first records I ever bought. Even back then–nearly ten years ago–the album had already earned its place in rock ‘n’ roll’s pantheon. Like the “classic” records it nods to, there isn’t any other way to consume it: Is This It was made for wax.
Maybe it’s because The Strokes arrived before the social media era, or because I was just a teenager in Wisconsin at the time, but, on its debut, the band felt fully-formed. From the downwinding tape that kicks off the title track to Julian Casablancas’ closing howls on “Take It or Leave It,” Is This It emanates effortlessness, self-assurance and, in a way, perfection.
Of course, Is This It is basically the work of a classically trained musician (Casablancas) hell-bent on rehearsing and rehashing his favorite garage and rock records until he’s achieved said perfection. “Rock ‘n’ roll” is supposed to be unrehearsed and raw, and this record is technically anything but. Somehow, though, the Strokes pulled it off, releasing a nearly-untouchable, instant-classic debut.
We all know what happened next: For the Strokes, Is This It was it. But, when your biggest hit blatantly rips off Tom Petty and he responds by inviting you to tour with him, you can really only go downhill from there.
With over 750,000 CDs in the Murfie warehouse, the time has come for the company to relocate to bigger digs!
It’s been truly enjoyable having Murfie on Madison’s Capitol Square surrounded by fantastic companies and people. However, Murfie has simply outgrown the space! With the amount of physical music being sent in to be digitized and stored, the best solution was to find a warehouse where there’s plenty of room for the growing amount of CDs and vinyl….plus all the Murfie staffers of course!
Murfie is moving to Middleton, Wisconsin, in the old Full Compass building. Full Compass is a Madison-based music company as well. The new neighborhood is looking beautiful as can be, and the staff is relieved to be able to keep all of Murfie operations under one spacious roof.
Starting today, Murfie will begin to move all inventory to the new Middleton warehouse, which will continue for 1-2 weeks. In the meantime, you can still access your music digitally, so no worries there!
Murfie has a new focus of maintaining the largest and most diverse source of lossless music on the web. So—see you on the other side, in Middleton!
– The Murfie Crew
8001 Terrace Ave, Suite 201
Middleton, WI 53562
Many changes are underway in 2016 at Murfie. As the world’s first streaming music service for CD and vinyl owners, our focus has long been on building the cloud infrastructure and processing capability required for moving CD and vinyl collections online. With this foundation in place, we’re shifting our focus in 2016 to our marketplace of albums, with the goal of murfie.com having the largest selection of lossless music on the web.
In conjunction with this new focus, Murfie has raised additional capital, led by WISC Partners, LP, and is in the process of relocating its offices from the Capitol Square in Madison to a larger facility better able to support our growth trajectory.
Murfie’s Board has named Chris Wheeler as CEO, replacing co-founder Matt Younkle who, along with Preston Austin, had led the company since its inception in 2010. Wheeler, a UW-Madison engineering alumnus, Harvard Business School graduate, and founder of Heritage Ventures, brings significant growth management and capital sourcing experience to Murfie. We’re excited to have his expertise as we scale our offering for music enthusiasts and expand our work with independent artists.
Austin and Younkle will continue as strategic advisors to Murfie. In addition, Younkle will continue to serve on the Murfie Board of Directors, along with Wheeler and WISC Partners principal Mike Splinter. Austin, with Kelly Hiser, will continue as co-founder of Rabble LLC, Murfie’s library-focused spinoff.
Time to send some new music your way, Murfie friends! Lior Ben-Hur is a reggae musician currently residing in the city of San Francisco, California. His band goes by the same name. Lior is from Jerusalem originally, and has seen a lot of different countries—which is why his reggae tunes are infused with an infectious “world” sound. His EP is currently available on Murfie, and it has contributions from musician Marcus Urani of Groundation.
I was lucky enough to chat with him the other day! Note: This interview has been edited for length and clarity.
K: Thank you so much for calling in, how’s everything going?
L: Everything is great, and you?
K: It’s great! Where are you calling from today?
L: From San Francisco.
K: Ah, love it. You know, San Francisco—I feel like people have been talking lately about how expensive it’s getting to live there. Do you find it’s hard to keep a band in that city?
L: Very hard, and the city has been changing a lot—especially where I live, which is the Mission District. The city used to be a good place for artists when I moved into this neighborhood about 10 years ago, but it’s been taken over by high tech people with good income, and good paychecks, which makes the landlords raise the rent a lot. I think in the last three years probably most of the rent around me has been raised almost 100%, which means the artists are leaving the city. The art scene is not really here as much anymore. There are still some people, like myself and the band, but still it’s kind of hard because things are changing.
K: You spend a lot of time touring with the band and traveling, which seems to be the way musicians survive nowadays. And you’re from Jerusalem originally, so you’ve seen a lot of different countries. What types of music have stood out as your favorite?
L: Well I’ve been traveling a lot, and music that I’m really inspired by is Latin music and Caribbean music. I’ve spent some time in Columbia, and this summer we toured there a little bit, and it was really great to hear the music over there. Obviously I’m really inspired by Cuban music, Jamaican music, and the Caribbean style, and also Latin music as a whole. I’ve also traveled in southeast Asia, so I spent a lot of time in India. I’m not very knowledgeable about their music, but I’m inspired by their culture—their way of seeing musicians, and their place in the culture and society.
K: Do you like any other US-based bands that are considered “world” bands, like yours?
L: There are a few bands in San Francisco. We do kind of world reggae stuff, so the idea is to take a lot of inspiration from reggae and bring a new twist to it. There’s a great world reggae band in Israel, in Tel Aviv—their name is Zvuloon Dub System, and they combine Ethiopian music with roots reggae. Being here in California, one of my biggest influences is Groundation, and their take on reggae with their jazz and other influences. There are also bands here that are more on the world side and Latin side, especially in the Bay Area. It’s very inspiring for me and for the band.
K: I love Groundation! They’ve come here to Madison and I’ve seen them play. Marcus Urani from Groundation, who played on your EP, played on my radio show as well. How did you link up with him?
L: Groundation has been a great influence in my personal journey into reggae and live music. I’ve seen them live in San Francisco many many times. The first time was about eight or nine years ago, and when I saw them live, they kind of blew my mind. I took a lot of inspiration and vision from seeing what they do. For example, the instrumentation—they have a vocal section and horn section. That always was my dream to do a full band. I’ve been lucky to get connected with them just by being around the Bay Area, and I reached out to Marcus and Jim Fox, who is the guy who mixes their albums, and the one who mixed the EP. So I reached out to Marcus, and he was very nice and generous, and offered to help out. He came to the studio and helped out, and we really formed a relationship. He is a great guy. We connected in not only music but on a personal level, and since then we’ve been friends. Of course they tour a lot, so it’s hard to see him because most of the year they’re gone. But actually, we’re going to get in the studio this month in California and record the new album. He’ll be helping engineer and produce it.
K: That’s awesome news! Do you have any new directions planned for this album, or will it be a continuation of what’s on the EP?
L: There is a concept and a direction. The EP is a reggae EP—we’ve done a lot of music throughout the year, a lot of world music, and the idea with the EP is just to bring our take on reggae. There is some in English and some in Hebrew, which are both the languages that I speak fluently and sing. The new album is going to connect a little bit of my Israel and Jerusalem roots to this musical experience, and tell the journey of coming from Jerusalem to Israel in the lyrics, in the message, and also in the music components.
K: Great. Well I’m excited to see what you come up with! Thanks so much for taking time to talk today—keep us posted about all the things you have going on in the future!
Kayla manages social media and customer support at Murfie. You can hear her on the radio hosting U DUB, the reggae show, Wednesdays on WSUM. She enjoys hosting the Murfie podcast, cooking, traveling, going to concerts, and snuggling with kittycats.
This is Kayla writing this post! This month marks my fourth year at Murfie. First of all—wow, that’s exciting! Secondly—wow, things have really changed!
I began working in Operations, ripping discs and handling downloads. My previous experience in radio made me fit to create and host the Murfie Podcast. From there, I started doing more social media and PR for the company. And naturally, that’s where my role took off. I had been running the Murfie Help Desk too, but now it’s time to hand off that role to a qualified candidate, so that I can zero in on the social side of things.
And that qualified candidate is without a doubt Brandon. I went to the higher-ups with confidence that Brandon cared about the individual needs of members enough to be a great person for the job. However….can he really fill MY shoes? I had to ask him a few questions to put him on the spot. :)
K: Tell everyone a bit about yourself!
B: I am 21 years old and was born in Madison, WI. I’ve lived in Chicago, Boston, and Washington D.C. before moving back here. My hobbies include playing guitar and saxophone, painting, and enjoying video games. My favorite place to travel is the woods of British Columbia—so serene! My favorite music is electronic, classical, classic rock, and indie.
K: What do you like about working at Murfie?
B: For me, the best part about working at Murfie is discovering new music! I’ve come across LOADS of albums, either through co-workers or just browsing members’ shops, that have greatly broadened my horizons musically.
K: Why are you a good fit to run our Help Desk?
B: I’m a good fit to run our help desk because I specialize in Operations, which means I can facilitate the problem-solving process. Plus, I truly care about the needs of our members….I love the site as much as they do!
K: So, do you think you can fill my shoes?
B: Yes! You have shown me the ropes, and I’m ready to help our members get the very best in customer support!
Brandon is ready to help with all your Murfie needs—contact him through our Help Desk and say hello! :)