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Showing posts from July, 2004

Being There

Imagine a man who worked as a gardener for an estate; never leaving, never finding the need to receive a pecuniary income, and who has never even sat inside of an automobile.  Now go further and imagine this man having no public record on him; no birth certificate, no medical reports, no listing of his even being employed as a gardener for the estate on the labor inventory log.  For 60 years this man's life consisted in attending to the horticulture of the estate and entertaining himself with the radio and later in television.  His only connection to the outside world was through these two mediums, and the estate maid who treated him like a child his whole life.  Day in and day out, nothing but detailed garden work and watching the world go by on the Television set.  Quite an elegant operation if I may say so. One day the owner of the estate, who had been bed ridden for the past 30 years, passed away peacefully in his hospice upstairs.  Since there has not been any link for the g

Mixed 10 (This is not a top ten, but a sequence of 10 records mixed: "Classic Mix"

1. Dave Panda feat. cecilia stalin "sister supreme" Dessous 2.Arnaud Le Texier & James Warren "Raggapoom" Kailash 3.Solomic Sound (Come Fi Mash it) "pete moss reblessing" Worship recordings 4.Jordan Fields (The Lowdown Double Dealin ep) "lowdown dub" Doubledown ---spooky track in my opinion, good, but spooky 5.Hakan Lidbo (Natural Soul) "fill me up" Fiji-----the way this deep song opens up and reveals the funk, and then forgives; quite clever. 6.Le bien et le mal (factor e 1998 nice,nice) "Golden Times" 7.Victor Simonelli presents. Pat Hodges "Rushin to meet you" Equal 8.Thomas Sahs & Paul Peredes (Miami Sampler 2004) "Uptown Recognition" Odd and Ends Music 9.Freestyle Man/Sasse (nightstarter) "The S track" Moodmusic 10.Demarkus Lewis with Lena Wade "This" Fair Park
"Digby" Photo by Joao Atala 
NEW YORK...they call it Dance Music and its a religion. 
Frozen Time in Parati (Rio De Janeiro) 
"Lima Daquri Sky" by Mary Nakada 
Defend the continuity 

TOP 10 (July 04)

Here is a list of my top ten records in my inventory. I do not discriminate when it comes to year of release. I welcome shelf life re-juvinates. 1. Deep House Soul(diers): Summer Love EP Limestone Recordings 2. Demarkus Lewis with Lena Wade: Your Touch Fair Park 3. Natural Rhythm: Be Loved EP Nightshift 4. Arnaud Le Texier & James Warren: Self Titled Kailash 5. Francois K. (AME STRONG): Tout est Bleu Delabel 6. Glenn Underground : Trust Remixes (Prayer Music) Large 7. ORATES : ORATES White Label 8. Vegomatic : French Up Future Now Unlimited (Topplers) 9. Seven Deadly Sins/Thousand Fingermen : Self Titled White Label 10.Adult Only : Formule Express Topplers

Double Standard

In life we must do what is best in order to provide to those whom we care for and satisfy ourselves to the upmost degree. Now what is wrong with that statement? Does it sound appologetic? Does it have a certain cliche that eliminates how each and every human being choses to live? "In life we must do what is best. Hmmmm "what is best". Well, first of all, shouldnt we know what is worst too, in order to know what is best. And if so, where should we tie the rope in order to keep us at bay while we experience the worst in order to do the best? Trivial i say not. You may think it is, but rest assured i know you have thought about this statement in so many words. Begining with the choice of choice. You choose to choose, so therefore you are on your own for the most part. Once you recognize that, the intro sentence is nothing more than a "keep all hands and arms inside at all times". Well what if i dont want to. What if i want to stick my hand out knowing

MUST LISTEN

Last week I was casually picking up some records for my Saturday night gig in the Mission District. I was feeling vocals and light piano chord driven melodies. Sure enough, as Karmic as record shopping is for me; I came across this wonderful record that I connected with the second the percussive intro layered into the sweet pulse of the keyboard. Its a distant song with a forgiving message entwined within. The percussions were conga led with bongo slaps for the highs, and maracas sneaking around the back. The bassline is gorgeous and simple, dark driven and unique. Definitely forward moving, this song isn't static and running in place-its definitely a breath of motivation for the dancefloor, but its motivation is for the dancers to close their eyes and smile and thank god for music like this. Its feel good and the melody is electric guitar generated, though it can be imagined as a type of keyboard due to the sudden chops and muting between notes. The elasticity of the notes