New Roots in the Bronx for a Lion of Reggae

The article begins with an effective scene-setter lede which takes us to the neighborhood in the Bronx where this underground (although not literally) record company makes music.  It's clear from his knowledge that reporter Niko Koppel has made multiple trips to the location, as he captures the atmosphere both of the neighborhood and the recording session taking place inside.  To keep readers interested Koppel adds a few colorful details, for example the beverage of choice in the studio is Red Stripe, a beer that comes from Jamaica, just like reggae music.

He goes on to include the label's past, pointing out that it was one of the earliest producers of reggae music in America.  But what is especially interesting about this article are its characters- and there are many of them.  Koppel did not do any slacking when it came to his sources for the piece- quotes are plentiful, and it helps propel the reader through his story.  What is particularly interesting I think is the "everyman" vibe that this recording studio seems to exude.  They do not seem exclusive when it comes to recording musicians- one of their most recent records was made by a senior auto mechanic.

The authenticity of the reggae studio is further cemented with a few biographic facts about its owner Lloyd Barnes, a Jamaican who grew up in Trenchtown, the neighborhood in Kingston, Jamaica that is considered the birth of reggae music.  The neighborhood is mentioned in "No Woman, No Cry", a popular song by the most famous reggae artist of all-time, Bob Marley.  Koppel ends the article on a tender note, with a quote from Barnes, who admits that the studio does not make very much money, and sometimes even struggles to keep the lights on, but they are doing what they love and they are sharing their music with the world.

Original Beatles Albums to Be Reissued

This article by Allan Kozinn (see my last blog for more of his work) gets right to the point- beginning simply and succinctly with a one word lede- "Finally."

The word sums up all the anticipation and excitement that Beatle-maniacs have been feeling in recent years, as they have been awaiting the upgraded and remastered versions of classic Beatles albums like "Revolver" and "Rubber Soul".  On the surface Kozinn's article appears to be a simple product promotion, but it actually goes much deeper than that.  He describes the history of the Beatles releases: from their original vinyl recordings to the foreseeable future, when the legendary groups music might be available as a download.

Moreover, Kozinn quickly points out why this history is important (aside from the fact that the Beatles are arguably the most successful and influential music group of the 20th century).  Unlike most classic recording artists, the Beatles music on CD has not been updated since their intial release in 1987.  CD technology has so vastly improved since then that it seems a crime not to have applied those advances to the Beatles music.  They are also one of the few major groups not on iTunes.  These differences make the history of the Beatles music releases a stark anomaly in the recording industry, and a prominent one at that.

Kozinn fills out the bulk of the article by elaborating on the techniques that have been used to improve the sound quality on the reissued CD's, as well as the different packages consumers can expect.