Woke up at 12.00, and drank an awful coffee in order to get all my brain activity functioning at least arround 10%. Right on then.
Ironic or not, my so-called "oldschool tight ass shit record case was opened" (perhaps Mr. and Mrs. Alien from Outta Space wanted to abduct me and they've chosen to absorb the pure massive strength of my records).
As I searched for the records, a shitload of names came out of the case, begging to be played all these years after.
These were the first three animals that came out. With time, I'll be posting here some classical stuff, therefore this post will continuously be updated.
This is an attempt to create an imortal sequence of records so here it goes ladies and gents.
Joe Durel - Vol.1


Mr. Joe Durel's only attempt on this Chicago thing.
I must say that this is the record to have in order to know the full power of Chicago's role in music.
A damn fierce bassdrum with some outstanding toms, all of those tracks are pure history for the ears. Ghetto vocals also included on this massive record.
I have this record religiously stored, and will be considering buying another couple of copies, because this honestly will have a big price a couple of years from now.
Subcode - Work/ Rhodes Track


It's pure chicago rush. No mess, no fuss, no bullshit, no fancy sounds.
A massive bassdrum with some good percussion along with the work vocal and a massive stab.
It got imortalized.
K-Alexi Shelby - All for Lee-Sah


This baby right here, is a mindbreaking acid house record. Despite being released on a Detroit label, it has it's full potential.
Straight down from Chi-town, Keith Alexi Shelby, is a true hero and pioneer of Chi-town's sound. This mutha here, used to "hang out" with Ron Hardy, and Frankie Knuckles back in the days at the Warehouse. Let's cut the crap now.
The "My Medusa" track (the one I only like from this record) is an oldschool (and I mean really oldschool since this is dated from 1989) kick in the mouth. With a fierce well modulated TB-303 bassline and an outstanding percussion made with an 808, this track made it's way to imortality. A true classic. It was one of the first "scene" tracks who used the reverse thing on it's sequence, and it's preety good listening. It's structure is physicaly unique, since the tracks growing is pure magic.