Azealia Banks

Great interview of the artist.

I wrote about her before and I think that part is accurate:

She has her own way of eating words, changing her accent, inventing meaning and breaking lyrics convention while empowering and dissing over dance music. It’s overwhelming, dense and I love it.

I’m listening to Paradiso from her Fantasea mixtape and it’s just 49 seconds to transition between songs—an interlude but I feel like she could go on for 6 minutes empowering women or trashing niggas, or the opposite or both, and I would just bop my head all along.

I think I respect the hell out of her for being so 1,000% without this pretending veneer that is so often all over the place with artists these days.

I still so want to see what I could come up with collaborating with her.

Anyway looking forward to her 70ish new songs. I hope she can release her new music on Bandcamp and get most of the money. She deserves.

Me Myself&I Music

RE Dilla

The book never ever mentions Go Go music but that’s a huge influence: the groove’s steadiness and inner play on too soon, too far kicks and snares, is so much part of its DNA.

It shouldn’t work well but it does, for hours and hours.

As often at the end of winter and start of spring, I’m listening to some old school Go Go. It gets me going.

Me Myself&I Music


Look, Spotify is 16 years old. It grew to have 200M paying subscribers.

They were losing 39M euros last year and this year, they’re losing 270M euros. Net income: minus 430 million euros.

This is not even supposed to be possible.

If your company has 200 million people paying you every month and you can’t even turn a tiny profit, your business model is pure trash. Just trash.

Folks! Please buy music on Discogs or Bandcamp, and grab the rest on torrents™. Listen to podcasts for free on Obama’s internet like it’s 2004.

Me Myself&I Music

Dilla Time

Reading this phenomenal book about J Dilla. It’s so powerful.

I remember listening to some of his Slum Village tracks back in the early 2000s, thinking “this one was dope but this one is a joke, right?”. I was frustrated by the hype and either great delivery about the hype or very underwhelming content. The book explains why this was like that.

I’ve been listening to Robert Glasper plays J Dilla (with Chris Dave on drums) a lot since last year. A phenomenal live performance (Boiler room in NYC, gone from YouTube but I have my mp3s). Shout out to T3.

I’ve been making beat-heavy music for 20+ years. Playing bass every day for 25+. Always had a drummer playing in my head since I was a kid and heard my first snares, hi hats and kicks live.

Dilla is from Detroit, a city with a French name and tons of French culture artifacts because it was founded by French missionaries.

Detroit is Motor City (the car life in L.A.), Motown (one of the biggest achievement ever in Black America), P-Funk (ever bigger than Motown to me), and Techno (so absolutely massive in 90s Europe, where I was at that time).

He was fascinated by Brazilian music, its polyrhythms, textures and harmonics. Me too (that’s why there’s timbales in my latest below).

He moved to L.A. in Hancock Park. I live a short bicycle ride away from there. He also was in Silver Lake with Stones Throw Records, who’s head is Peanut Butter Wolf who I recognized in the restroom of the Cinerama Dome during the premiere of Beats, Rhymes & Life: The Travels of A Tribe Called Quest. Dilla also connected with Madlib and Little Brother, both acts that I adored in the 2000s.

I barely listen to any hip-hop.

The Pharcyde’s Bullshit track is probably the first hip-hop track that I truly loved to death. Labcabincalifornia is one of the best ever (shout out to Booty Brown and Diamond D).

In 2014 I was living next to Delicious Pizza, created by the Delicious Records guys, who produced Labcabincalifornia. I got to chat with the Ross brothers. They had a couple block parties and I got to hear Slimkid3 and Fatlip spitting live from my roof while bopping heads with friends.

I could never stand Jay-Z, Puff and Kanye’s stuff. I was annoyed that they were so huge. I wanted Dilla’s Elastic SoulFunk to dominate.

I wanted Dilla to do more soul. Ain’t nothing wrong with keeping doing something great. All the hard, tech, dirty beats didn’t stand the test of time, all his soulful ones did and are even stronger now.

The insanity of the music business in the early 2000s. The label consolidation really ruined so many careers. Had Dilla been in the Bandcamp era, he would have been eating vegan donuts making beats from his Detroit basement, fully independent, money going straight to his account, the way he wanted it.

The sad because so common tale of a man not caring about much while women take care of EVERYTHING around his ass. smdh.

I waited. I avoided music labels, baby mamas and homies telling you how you should line up your life.

But the connection is deeper than I want to recognize. My head is heavy with creative, musical, undone things that I want to lay down in notes and rhythms.

Many in Dilla Time.

It’s just funny how things float around, sometimes.

Me Myself&I Music


PFunkzilla. Raise your head on the beat.

(produced, composed and recorded by yours truly)

Happy New Year!

Me Myself&I Music


Q Lazzarus passed away.

Everyone of course thinks of The Silence of the Lambs when hearing the classic song Goodbye Horses but personally, I always think of Marc Johnson ripping streets.

It fits so well. It fits skateboarding’s rhythm, pain, solitude and doing you. A masterpiece.


Diffrt Grl

Composed and produced during the 2016s, aka 2015-2019. Not representative of the current mood, but I wanted to ship it because that’s how it is. Bang. NEXT


Bernard Wright

He is the kind of musician and American man that has been around me in the most craziest ways.

First, his 1985 megahit “Who Do You Love” that was on the radio worldwide from when it came out to the mid 90s. Just a beautiful, simple, unique pop song.

Then it’s 1995, Skee-Lo’s I Wish is super popular, samples Bernard’s Spinnin’ song. The music video is happening on the very playground where I have been playing basketball for eight years now.

I discovered the sample on my own in the 2000s by learning Marcus Miller’s basslines and being like “HOLUUUP”.

At that time I also read a lot about those super funky cats playing badass grooves in Jamaica, Queens. Bernard Wright, Don Blackman, Marcus Miller, Tom Browne, Lenny White, Toni Smith… Not only those mfs were monster musicians, but they created those samples used everywhere in 90s hip-hop.

The sad part is that they are leaving this planet. Toni, Don and now Bernard.

Bernard toured with my love Meshell Ndgeocello. He was the musical director for Roberta Flack. A prodigy, probably a tormented life –he started touring at 13 but probably a good soul.

58 is so young for a musician. You can still learn new chords in your seventies. Rest in Power, brother.



This song was rotating often last year when I was patiently waiting for my vaccine turn.

I loved Vanjess’s album. Nine tracks that just flow by when you’re busy at home.

Me Myself&I Music

(also watched)

I watched a bit of the first episode of The Beatles: Get Back, until Paul actually creates the song Get Back.

It happens in the morning and it’s so awesome to see his mind work around his bassline, repeating the line, finding a quick melody on top, then words. He knows he has something and wants it, chipping away.

I’m not a Beatles fan but I imagine this must feel so great to see the creative process when you are one.

It makes me want to see the same quality footage of recording of albums or hot R&B #1 songs from the Isley Brothers, Parliament, Erykah Badu, Dilla or Midnight Star. Man, I wish I could see that stuff. There’s probably some footage here and there but nothing like the Beatles have.