JON LOTTMAN

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Spin Time Records is D.C.’s neighborhood record shop no matter where you are - The Washington Post

Jon Lottman was raised on Capitol Hill at a time when mom-and-pop record stores dotted enough of the nearby streets that he grew up thinking of them as “a neighborhood amenity.” Decades later, there are none to be found. “But someone’s gonna open a record store here someday,” the 51-year-old says, “and I want it to be me.”

So this summer, Lottman launched <a href="https://spintimerecords.com/" title="spintimerecords.com">Spin Time Records</a>, an online record shop that peddles new releases and fresh reissues from D.C. area artists almost exclusively. Lottman says that he’s always been drawn to highly curated specialty shops because they exude an almost “monumental character, like a gallery, or a museum, or a library. So you’re not just selling stuff. You’re offering access and exposure to something that has value, culturally. And that’s whether people are just coming to look or to take the pieces off the walls.”

Lottman is searching for some walls he can afford — real estate on Capitol Hill is pricey, “like $100 a square foot,” he says — but in the meantime, he’s considering opening a stopgap retail space where customers could swing by and pick up their online orders in person. Either way, Spin Time remains a mail order business for now, with Lottman doing occasional hand-deliveries in the neighborhood and nearby.

As for the store’s selection, it captures an incredible breadth of D.C. area music, ranging from new stuff (the latest from rap duo <a href="https://spintimerecords.com/collections/dc-top-picks-new-back-in-stock/products/both-feet-en-th-infinite-lp" title="spintimerecords.com">Model Home</a> and folk guitarist <a href="https://spintimerecords.com/products/urban-driftwood-limited-edition-lp" title="spintimerecords.com">Yasmin Williams</a>) to the old (reissued records from guitar daredevil <a href="https://spintimerecords.com/products/link-wray-limited-edition-color-vinyl-lp" title="spintimerecords.com">Link Wray</a> and jazz flutist <a href="https://spintimerecords.com/collections/lloyd-mcneill/products/washingtonsuite" title="spintimerecords.com">Lloyd McNeill</a>). And if you’re especially interested in how Lottman hears the world, check out “Same Old Song,” a collaboration between Lottman’s “basement” reggae group, the <a href="https://spintimerecords.com/products/same-old-song-color-vinyl-10" title="spintimerecords.com">Capitolites All Stars</a>, and the late dub legend Lee “Scratch” Perry.

How’d that happen? After the pandemic shutdowns of 2020, Perry and his co-producers were trying to offset touring losses by accepting remote collaborations from anyone who had the cash. So Lottman, a lifelong Perry aficionado, jumped at the chance to work with his hero from afar, eventually pressing “Same Old Song” to 10-inch vinyl earlier this year.

“That’s the traditional, reggae dubplate format, and if I’m only gonna make one record in my lifetime, it’s gonna be the way I want it!” Lottman says with a laugh. Cool story. The kind you might hear at your favorite record store.

Visit Spin Time Records at <a class="showlink" href="https://spintimerecords.com/" title="spintimerecords.com"> spintimerecords.com</a>.

A previous version of this article incorrectly said that Spin Time Records sells D.C. artists exclusively. It sells other items, as well. The article has been corrected.


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With ‘R&B in DC 1940-1960,’ historian Jay Bruder reacquaints us with the sounds of a vanished Washington


Chris Richards has been The Washington Post's pop music critic since 2009. Before joining The Post, he freelanced for various music publications. 

Chris Richards

The Washington Post

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Music

Going Out Guide

2021 American Music Awards - Fixed Show

Staff

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The Grammys are trying to change. It still feels like they're moving backwards. - The Washington Post

Music is fast, the Grammys are slow, and listeners who care about both remain stuck in an exhausting middle ground, perpetually chasing after the sounds they love, wishing the Recording Academy might hustle and catch up.

There’s been a loud, continuous push for diversity at the Grammys in recent years — both from inside and outside of the academy — and it isn’t just because inclusion is a nice idea that makes everyone feel all warm inside. The underlying demand here is that the Grammys must do better when it comes to reflecting the present moment in popular music and the broad diversity of people responsible for it.

So on Tuesday, when the Recording Academy unveiled a new list of nominees for its 64th annual awards show on Jan. 31, it seemed to be getting things right and wrong at the same time. There were unexpected names and faces, but many of the same old problems.

Let’s start at the top with the nominees for album of the year, where the academy appears to be reviving its tendency to nominate artists after they’ve stepped down from their creative peak: Eminem in 2011, Dave Matthews Band in 2010, Radiohead in 2009. A decade-or-so later, this problem now gathers over the head of Kanye West, whose latest album, “<a href="https://www.washingtonpost.com/entertainment/music/kanye-west-donda-review/2021/08/30/ebd5aee8-094b-11ec-9781-07796ffb56fe_story.html" title="www.washingtonpost.com">Donda</a>,” is easily the most unfocused and abysmal of his career. What a bizarre trip. The academy nominated West’s first two albums for album of the year (he lost in 2005 and again in 2006), but once the rapper began truly steering the direction of pop music writ large, Grammy voters took him out of the running. Now he’s up for the big one again.

Grammy Nominations

Kanye West

A tangential Grammy problem at the top: Atonement for snubbing legends in their more relevant yesteryears. It’s still hard to compute Steely Dan winning album of the year in 2001, and Herbie Hancock winning it in 2008, and Robert Plant and Alison Krauss winning it in 2009. Now, in the record of the year category, we have Abba’s “I Still Have Faith In You,” a ballad that sounds as if it were written just for Grammy voters. New Abba music might be a cool thing to put in your parents’ Christmas stocking, but it doesn’t belong here.

Redundancy is another problem in the top genre-blind categories — record, album, song of the year and best new artist — and the congestion lends itself to potential sweeps, like <a href="https://www.washingtonpost.com/lifestyle/style/its-time-for-radical-change-at-the-grammys--and-the-clock-is-ticking/2020/01/27/437177be-410b-11ea-aa6a-083d01b3ed18_story.html">Billie Eilish’s four-for-four victory in 2020</a>. No doubt, Eilish’s music was worthy of top honors that year, but not all of them. Newcomer Olivia Rodrigo threatens to repeat history with her worthy debut album, “Sour,” and its worthier hit single, “Drivers License.”

Last gripe, two examples: Overdoing it with the musician’s musicians. Jon Batiste topped Tuesday’s Grammy slate with 11 nominations, including two of the biggies, record and album of the year. And yes, Batiste is deeply fluent in the rich musical and social traditions of Louisiana jazz, not to mention he’s highly recognizable from his nights on “The Late Show With Stephen Colbert.” But would anyone call him the zeitgeist musician of this wildly unique  moment?

And then there’s Silk Sonic, a neo-pseudo-funk duo featuring 2018 album of the year winner Bruno Mars and rapper-singer-drummer Anderson Paak. The band made its splashy premiere during this year’s Grammy telecast, stirring Philly soul and Ohio funk into a people-pleasing mix that, on the band’s highly adept <a href="https://www.washingtonpost.com/entertainment/music/silk-sonic-album-review/2021/11/15/410541ec-4620-11ec-b05d-3cb9d96eb495_story.html" title="www.washingtonpost.com">new album</a>, feels as convincing as an expensive Halloween costume.

The only accessory these guys need now is a tiny golden gramophone. On Grammy night, they’ll be up for four, and you best believe they aren’t going home without one.

Read more by Chris Richards:


Silk Sonic get on a nostalgic Soul Train that’s too sleek, too sanitized



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Grammy night is coming — and go-go music finally has a shot




An earlier version of this story misreported that Abba's "Voyage" was nominated for album of the year at the 64th Grammy Awards. This story has been updated.



The Grammys are trying to change. It still feels like they're moving backwards.

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Arts & Entertainment

 Kokayi Helps Change Grammy Rules For GoGo Music Inclusion

staff

DC's go-go music moves to a different Grammy category -- and improves its chances - The Washington Post

How’s this for an awards show magic trick? Questlove plays E.U.’s “<a href="https://www.youtube.com/watch?v=FShE0VifCYs" title="www.youtube.com">Da Butt</a>” while DJing at the Oscars back in March, then Glenn Close rises from her seat to <a href="https://www.youtube.com/watch?v=Z-RovCOajc8" title="www.youtube.com">shake hers</a>, and presto, the Recording Academy decides that it will finally recognize go-go music at its 64th annual Grammy Awards in January.

That isn’t exactly how it went down, but Close and Questlove definitely helped. Truth is that go-go — Washington’s indigenous, indefatigable dialect of Black dance music — had already made plenty of national headlines in 2019 with the go-go community’s public outcry against gentrification in the District, popularized on social media as the #DontMuteDC movement, and now with this Oscars thing, the music was fresh on the hivemind of the Grammy electorate once again.

So when members of the Recording Academy convened for a big Zoom meeting back in April, <a href="https://www.washingtonpost.com/goingoutguide/music/kokayi-on-making-music-in-a-fast-changing-washington-for-30-years--and-trying-to-live-up-to-his-own-name/2019/06/25/a8d5d93a-969b-11e9-830a-21b9b36b64ad_story.html" title="www.washingtonpost.com">Kokayi</a>, a District-raised rapper and an awards and nominations committee member, decided to answer a call for new business by tossing up a Hail Mary: Instead of drafting a formal proposal, he suggested that go-go simply be added to the best regional roots album category where it could compete against other musical traditions from communities across the land: zydeco, Hawaiian, Cajun, Native American, polka and the like. That way, instead of underdogging it against the starriest names in R&B — like E.U. did in 1988, like Chuck Brown did in 2010 — go-go music could be recognized on Grammy night on its own terms.

“Go-go is not R&B. It’s not hip-hop. It’s not funk. It contains elements of those musics, but it’s its own art form,” Kokayi says. “So I just put it out on the table like, ‘Look, I’m not asking for a new category. I’m not asking for any of that. I just want to add go-go to regional roots . . . because there’s a whole community working on this music on the daily, but when it’s time for us to submit our music, there’s nowhere for us to go.”

More than a few celebrity academy members immediately piped up in support of the idea. “PJ Morton, Yolanda Adams, Paul Wall, Ledisi, Lalah Hathaway — all these people started speaking up for go-go,” Kokayi says. “Everybody was like, ‘We know this music. We’ve heard it [in D.C.] when we’ve been out on the road and we love it.’ ”

Like a go-go song, everything started coming together organically. And unlike a go-go song, it happened fast. Academy trustees ratified the proposal in May, the category language was changed and the window for entries opened and closed in July. On Tuesday, the Recording Academy will announce its slate of nominees for the Jan. 31 awards show — and if any go-go albums make the cut, it’s because the artists made haste.

Harlem rap pioneer Doug E. Fresh had a head start. By the time the eligibility news reached him, he’d already begun work on a tribute album dedicated to go-go’s creator. “The idea came to me in a dream to write a song about <a href="https://www.washingtonpost.com/local/obituaries/chuck-brown-dies-the-godfather-of-go-go-was-75/2012/05/16/gIQAJAfPUU_story.html" title="www.washingtonpost.com">Chuck Brown</a>,” Fresh explains over the phone. “I didn’t understand why. I just started writing because that’s the same way I wrote ‘<a href="https://www.youtube.com/watch?v=cEZYetbpj5E" title="www.youtube.com">The Show</a>,’” his signature hit from 1985.

Fresh met Brown that same year. The two shared a bill at the Capital Centre, where Fresh remembers feeling go-go’s magnetism in an almost metaphysical way. With go-go, “the loop is hypnotic and it locks you in. It’s hard to get out of it,” Fresh says. “It says, ‘Don’t leave, don’t leave! Where you going?’ ” Then Fresh performs some metaphysics of his own, beatboxing an astonishingly crisp go-go beat over the phone line as if he has a tiny set of conga drums stashed between his teeth.

Fresh’s <a href="https://www.youtube.com/watch?v=6w_5ep_PrVM" title="www.youtube.com">dream song</a> eventually bloomed into an entire album, “<a href="https://www.amazon.com/gp/product/B09G3HDBGZ?ie=UTF8&amp;tag=thewaspos09-20&amp;camp=1789&amp;linkCode=xm2&amp;creativeASIN=B09G3HDBGZ" title="www.amazon.com">This One’s for Chuck Brown: Doug E. Fresh Salutes the Godfather of Go-Go</a>,” a culmination of decades spent working intimately with go-go musicians onstage and in the studio. Made with counsel from former Rare Essence member Donnell Floyd, the album contains musical contributions from the group Team Familiar, as well as a few go-go players who have backed DMV rap star Wale.

And while Fresh understands the potential bittersweetness of the first go-go Grammy going to a hip-hop icon, his heart is beating in the right place. “I’m doing it to honor Chuck Brown, and I’m doing it to honor all the go-go artists who need to be acknowledged,” he says. “If I’m able to open up a door or create a conversation that will expand this music . . . then we did something good!”

Back in the DMV, a mix of go-go legends and newer groups managed to hit the academy’s deadline, too — but for <a href="https://www.rareessence.com/" title="www.rareessence.com">Rare Essence</a>, it was close. The group hustled to assemble its aptly titled “The Official Sounds of the Capital” and submitted the recording as Rare Essence and Friends, perhaps to highlight <a href="https://www.youtube.com/watch?v=bBySgaO4jbM" title="www.youtube.com">a song</a> featuring Snoop Dogg, a rap superstar currently holding the record for artists with the most Grammy nominations without a win — 17 in all. A win here would allow Grammy voters to correct two oversights with one trophy.

But Rare Essence bandleader Andre “Whiteboy” Johnson is more concerned with how this all shakes out back home. “The Grammys are a worldwide thing, and this helps to really legitimize go-go,” he says. “We’ve always known it as the unofficial sound of D.C., and now we know it as the official sound of Washington, D.C.” — Mayor Muriel E. Bowser signed an act to designate it as such last year — “So to have this come along so shortly after that, it’s giving everybody more inspiration to really create,” Johnson says. “And we will be submitting every year.”

Big Chess, bandleader of the Big Chess DC Music Group, knows his band’s reputation isn’t as big as Rare Essence’s, but that hasn’t stopped him from dreaming big about Tuesday’s nominee announcement. Everything about his submission, “<a href="https://bigchessdc.bandcamp.com/album/go-go-love" title="bigchessdc.bandcamp.com">Go-Go Love</a>,” seems extra-large. The album is a sprawling 33 tracks, and it includes contributions from more than 40 musicians, including production partner Jacques Johnson, drummer Willie Howell, former Prince trombonist Greg Boyer and many more. For Big Chess, this is a big deal.

“Go-go music is an experience,” Big Chess says, “which is why it’s been so difficult to capture on a recording. You have to go to it to see what it is. But if you’ve gone back to the continent of Africa like I have, and you study the cadences and the rhythms there, you feel the same energy and the same vibrations. . . . So with [the Grammys], it validates our experience in this diaspora. It shines a light on a group of people who, knowingly or unknowingly, are connected to where they come from.”

Correction: An earlier version of this story misreported D.C. rapper Kokayi’s role in the Recording Academy as a trustee. He is a former trustee and currently an awards and nominations committee member. This story has been corrected.

Read more by Chris Richards:


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In the streets and online, go-go’s drumbeat for social change remains a constant



Go-go’s fight against gentrification is just getting started. This is what it sounds like.


Chris Richards

Washington, D.C.

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