If you would like your release to be reviewed by Tim Kabara, donate it to a local thrift store.
I am a fan of old time radio programs, and I pick them up at the Savers and elsewhere. This one? It is not that, but it is that. 1972 lysergic-tinged weirdness that plays around with the “radio serial” format but also works in other modes. A true surprise coming out of the speakers, so sure of itself but so deeply weird. Due Interdiligence reveals that there is much data available about this series and the creator, but it was more fun to have no idea. Gonna give this one to James Keith Ford. Will he tape over it or use it for future mixtape fodder? His choice.
CD-R recordable disc
I very much enjoyed the mix CD you made for Amelia. Although the local thrift stores have stopped putting out homemade VHS tapes to be “sold as blank”, they have no problem selling your “letter to the world” to me. Did Amelia ever “write” to you? I certainly hope so. To begin the mix with Lil Jon & The East Side Boyz’ “Get Low (feat. Ying Yang Twins)” in its uncensored form was a bold, saucy gambit. As the tracks progressed, you went a little too pop for me at times, sure, but I would say that, yes, the overall feel was Sort of Crunk. And, hey, you can’t go wrong with La Roux’s “Bulletproof” #eternalbanger. I was also impressed with the high fidelity of this mix: no weird quietness or loudness, no low-fidelity bootleg Napster version… good work!
Intersound Inc. : An American Company
I grew up with “cars that go boom” in the 1990s, an ever-escalating battle for the most pulse-pounding and skull-crushing bass tone coming from your vehicle (typically a jeep). Some friends dug on that, attended battles in parking lots. I ignored it, mostly. Later, after reading an interview with DJ Shadow conducted by Grand Royal Magazine, I became more aware of the origins of the music they were playing. “Miami Bass”, a regional music scene, had been feeding into the larger hip hop stew that I had been enjoying since the 1980s. This release is of a thoughfully curated compilation of some of the best of the remixes and edits of the era. Even on “the next bounce”? Still slaps. Bonus points for Ernie Barnes’ “Sugar Shack” references in the dancefloor cast of characters on the cover.